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Expériences Artistiques Et Géographie Du Virtuel À L'ère Interconnectée

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Expériences Artistiques Et Géographie Du Virtuel À L'ère Interconnectée Entre ciel et terre, l’horizon virtuel : expériences artistiques et géographie du virtuel à l’ère interconnectée Cheng-Yu Pan To cite this version: Cheng-Yu Pan. Entre ciel et terre, l’horizon virtuel : expériences artistiques et géographie du virtuel à l’ère interconnectée. Art et histoire de l’art. Université Panthéon-Sorbonne - Paris I, 2014. Français. NNT : 2014PA010522. tel-03040690 HAL Id: tel-03040690 https://tel.archives-ouvertes.fr/tel-03040690 Submitted on 4 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS 1 - PANTHÉON-SORBONNE UFR ARTS PLASTIQUES ET SCIENCES DE L'ART ENTRE CIEL ET TERRE, L'HORIZON VIRTUEL Expé riences artistiques et gé ographies du virtuel à l'è re interconnecté e THÈSE Pour obtenir le grade de Docteur en Arts Plastiques et Sciences de L'Art Mention Arts Plastiques Pré senté e et soutenue publiquement en Sorbonne Le 28 avril 2014 Par PAN Cheng Yu Sous la direction de Bernard GUELTON JURY Chu-Yin CHEN, Professeur à l'Université Paris 8 - Vincennes à Saint-Denis, Rapporteuse Joël GILLES, MCF HDR à l'Université Jean Monnet Saint -Étienne, Rapporteur Éric BONNET, Professeur à l'Université Paris 8 - Vincennes à Saint-Denis, Examinateur Isabelle VODJDANI, MCF à l'Université Paris 1 - Panthéon-Sorbonne, Examinatrice Bernard GUELTON, Professeur à l'Université Paris 1 - Panthéon-Sorbonne, Directeur de thèse REMERCIEMENTS Je suis d'abord ma tradition en remerciant le ciel et la terre, qui sont à la fois le berceau et le sujet de cette thèse. Je remercie sincèrement Chu-Yin Chen, Isabelle Vodjdani, Éric Bonnet et Joël Gilles d'avoir accepté de participer au jury de soutenance de cette thèse. Je suis particulièrement reconnaissant envers Bernard Guelton qui a dirigé ma thèse avec exigence, ce qui m'a conduit à déployer des efforts non seulement de méthodologie et de conceptualisation, mais aussi de qualité d'expression française. Mon attention se porte ensuite vers mes amis et collègues Alice Forge, Cécile Garin et Alexandre Lalandre qui ont accepté de consacrer du temps à la relecture éclairée de cette thèse. À ce titre, je remercie également Vivien Lee, Ruey-Jin Lou et Ghislaine Perichet pour leurs interrogations inspirantes d'une partie de mes travaux plastiques et de mes écrits ; Édith Magnan, Aurélie Herbet, Chun-Yi Chang et Yun-Ting Chang pour nos échanges et leurs encouragements. Je remercie Aurélie Gatet, Nikoleta Kerinska et Kristina Depaulis de m'avoir permis d'explorer différents territoires pour élaborer et présenter mes créations. Un grand merci également à Shartul Dhamchoe Tulku Rinpoche, Geshe Ngawang Tashi, Rigo Tulku Rinpoche, Anne-Marie Serré et tous ceux qui ont contribué et m'ont aidé à réaliser mes projets plastiques. À mes parents et toute ma famille pour leur soutien et leur amour sans limite, et Jin-Man Lin pour sa gentillesse et son accompagnement tout au long de la réalisation de cette thèse. 3 RÉSUMÉ ENTRE CIEL ET TERRE, L'HORIZON VIRTUEL Expé riences artistiques et gé ographies du virtuel à l'è re interconnecté e Cette thèse vise à interroger la situation de l'individu face à l'horizon virtuel de l'ère interconnectée, ainsi que la créativité surgie du cyberespace. Divisée en deux parties, la première section de cette thèse consiste en une analyse des expériences plastiques, elles-mêmes élaborées en rapport avec les réseaux sous diverses formes : installation, net.art, vidéo, photographie numérique et performance GPS. Les quatre projets artistiques proposés ont ainsi permis une interrogation sur la question du regard, qui, dans le cadre des arts plastiques, traverse à la fois l'auteur, le dispositif et le spectateur. Dans la seconde section, il s'agit de tenter de répondre davantage aux problématiques engagées par ces expériences artistiques. La métaphore du «cycle hydrologique» est d'abord proposée afin de comprendre les réseaux informatiques. Une approche du devenir de l'image du monde est ensuite réalisée à travers un parcours historique sur des cartes géographiques. L'hypothèse proposée est que si ce parcours et cette évolution sont conçus comme la transformation d'une conception mythologique du monde en une représentation rationnelle, l'imaginaire engagé par les cartes numériques peut impliquer à nouveau certaines caractéristiques d'une représentation mythologique. Des phénomènes culturels se trouvant à la frontière du cybermonde sont analysés, dans lesquels les questions du virtuel s'avèrent déterminantes, en particulier celle de la réalité augmentée, de la durée d'immersion virtuelle, de «l'auto- virtualisation» et rejoignent à nouveau l'hypothèse d'une mythologie propre à l'espace-temps virtuel édifié sur les réseaux. MOTS CLÉ Arts Plastiques, «auto-virtualisation», carte du monde, cybermonde, mythologie, net.art, regard, réseaux, SIG, virtuel UNIVERSITÉ PARIS 1 - PANTHÉON-SORBONNE UFR ARTS PLASTIQUES ET SCIENCES DE L'ART Centre d'Études et de Recherches en Arts Plastiques (CÉRAP) 47 rue des Bergers, 75015, Paris, France 4 ABSTRACT BETWEEN THE SKY AND THE GROUND, THE VIRTUAL HORIZON Artistic experiences and geographies of the virtual in the interconnected era This thesis aims to examine the situation of individuals facing virtual space in the interconnected era and the creativity that emerges in the cyberspace. The thesis is divided into two parts. The first part consists of an analysis of my personal experience in conducting four art projects elaborated in various forms, including installation art, net.art, video art, digital photography and GPS performance art. Regardless of which artistic form is in question, "look" is the key in connecting the author, the audience as well as the visual media. The second part aims to further explore the artistic issues derived from the personal experience, namely net art, map and virtuality. In order to fulfil this task, the metaphor of "water cycle" is applied to conceptualize the development of internet in a systematic way. In addition, world maps at different stages of human civilization are analyzed to shed light on how the worldview has changed over time. Based on that, a hypothesis is proposed: if the changes in world maps over the course of human history reflects a gradual replacement of a mythological perception of the world by a more rational perspective, the creativity shown in trendy digital maps nowadays might point to a resuscitation of a world view featuring mythological representation. Some cultural phenomena in the cyber space are also analyzed. The focus of the analysis is on a few issues related to virtuality, such as augmented reality, the duration of virtual immersion, as well as "auto-virtualization". Such analysis should help corroborate the above mentioned hypothesis, namely the rise of mythological representation in virtual space. KEYWORDS "Auto-virtualization", cyberspace, GIS, Internet, look, mythology, net.art, visual arts, virtuality, world map UNIVERSITÉ PARIS 1 - PANTHÉON-SORBONNE UFR ARTS PLASTIQUES ET SCIENCES DE L'ART Centre d'Études et de Recherches en Arts Plastiques (CÉRAP) 47 rue des Bergers, 75015, Paris, France 5 ENTRE CIEL ET TERRE, L'HORIZON VIRTUEL Expé riences artistiques et gé ographies du virtuel à l'è re interconnecté e SOMMAIRE INTRODUCTION ........................................................................................................................ 13 PARTIE I. «POÏÉTIQUES» ..................................................................................................... 27 I.A. «BIENVENUE CHEZ VOUS» ...................................................................................................... 29 I.B. «ITUNNELS» .......................................................................................................................... 45 I.C. «EYETUNNEL» ........................................................................................................................ 79 I.D. «QUESTIONS CÉLESTES» ......................................................................................................... 91 PARTIE II. «SPÉCULATIONS» .............................................................................................. 155 II.A. LES RÉSEAUX COMME LIQUIDE ............................................................................................. 155 II.B. LES CARTES, LES IMAGES DU MONDE .................................................................................... 201 II.C. DANS L'HORIZON VIRTUEL .................................................................................................... 245 II.D. CONCEPTION DU MYTHE À L'ÈRE DES MONDES VIRTUELS ........................................................ 305 CONCLUSION ........................................................................................................................ 335 ANNEXE .......................................................................................................................... 349 BIBLIOGRAPHIE ............................................................................................................................ 349 ICONOGRAPHIE .........................................................................................................................
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