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Le Cinéaste John Mctiernan UNIVERSITÉ SORBONNE NOUVELLE — PARIS 3 École Doctorale 267 — Arts & Medias COMUE Université Sorbonne Paris Cité DU SIMULACRE NUMÉRIQUE LES IMAGES DIGITALES AU DEFI DU VIVANT Thèse de doctorat en Études cinématographiques et audiovisuelles présentée par Régis COTENTIN Sous la direction de Mlle Nicole BRENEZ Présentée et soutenue le 1 février 2017 Membres du Jury : - M. Vincent AMIEL : Professeur, Université Paris 1 Panthéon Sorbonne - Mlle Nicole BRENEZ : Professeur, Université Sorbonne Nouvelle Paris 3 - M. Luc LANG : Professeur, ENSAPC (École Nationale Supérieure d'Arts Paris-Cergy) - M. José MOURE : Professeur, Université Paris 1 Panthéon Sorbonne - M. Antonio SOMAINI : Professeur, Université Sorbonne Nouvelle Paris 3 1 DU SIMULACRE NUMÉRIQUE LES IMAGES DIGITALES AU DEFI DU VIVANT Les auteurs contemporains, des plasticiens aux réalisateurs de blockbusters, créent des images où le réel et le virtuel semblent de la même étoffe. Leurs films, vidéos et installations exposent un monde qui émerge de l’immatérialité des écrans. À la différence des images qui procèdent de l'imprégnation de la lumière réelle sur des surfaces photosensibles, les simulacres numériques résultent du langage binaire. Ils correspondent à du code informatique qui transforme l’image en une somme de données. Dès lors, ceux-ci entraînent-ils une mutation de notre rapport à l’image ? En quoi induisent-ils une nouvelle perception des représentations artistiques où prime l’apport d’une subjectivité ? Les simulacres numériques apparaissent après des millénaires d’images qui relèvent de l’ontologie et entretiennent un lien sensible avec le réel. Le spectateur ayant besoin de se projeter dans ce qui emprunte à sa nature et ce qui interroge ses aspirations, ses sentiments comme ses croyances, il attend de la simulation numérique la même capacité d’incarnation et de transfiguration que les autres moyens d’expression. Entrelaçant la tradition et le contemporain, cette recherche analyse l’éloquence sensible du simulacre numérique au défi du vivant dans le cinéma et les arts plastiques des années 2000- 2010 selon les concepts de présence, représentation et simulation. Comment le numérique actualise-t-il des codes culturels et esthétiques hérités de l’histoire de l’art ? Cette recherche tente de comprendre la nature et le sens des simulacres numériques du vivant en tant qu’ils conjuguent l’incorporel synthétique à l’argument ontologique. Mots-clés : Androïde, Art contemporain, Art vidéo, Cinéma, Digital, Histoire de l’art, Hologramme, Humanoïde, Identification, Immatériel, Incarnation, Incorporel, Intelligence artificielle, Numérique, Performance Capture, Présence, Réel, Représentation, Simulacre, Simulation, Virtuel, Vivant. 2 THE DIGITAL SIMULACRA DIGITAL IMAGES CHALLENGING THE LIVING The contemporary authors, from visual artists to blockbusters’ directors, create images where the real and the virtual seem from the same cloth. Theirs movies, videos and installations show a world which emerges from the immateriality of the screens. Unlike images which are the result of the impregnation of the actual light on photosensitive surfaces, digital simulacra stem from binary language. They are made of pure computer code that can transform the image into a sum of data. Therefore, will the digital simulacra change our relationship to images? How do these digital sham images induce a new perception of artistic performances where subjectivity and its contributions are the prime factors? We are confronted with these digital simulacra of images after millennia of imagery that relate from ontology and that maintain a significant link with reality. The viewer, having the need to project himself into something that borrows from his nature and that questions his aspirations, his feelings as well as his beliefs, expects from the digital simulation the same capacity for incarnation and transfiguration that he experiences from others means of expression. Confronting and intertwining the traditional and the contemporary, this research analyses the sensitive eloquence of digital simulacra and how they face the challenge of real life, through film and in visual arts over the decade 2000-2010, based on the concepts of presence, representation and simulation. How do the various uses of digital technology force us to update the cultural and aesthetic codes that we inherited from Art history? Thus, this research attempts to understand the substance and the meaning of the digital pretence of life, which combines the synthetic intangible with an ontological argument. Key-words: Android, Artificial Intelligence, Art Video, Cinema, Contemporary Art, Digital, History of Art, Hologram, Humanoid, Identification, Incarnation, Intangible, Immaterial, Living, Performance Capture, Presence, Representation, Real, Simulacra, Simulation, Virtual. 3 REMERCIEMENTS Mes plus vifs remerciements vont à Nicole Brenez, dont la bienveillance et l’esprit de rigueur ont accompagné l’écriture de cette thèse d’année en année, à Bidhan Jacobs pour ses conseils et son soutien, à l’équipe de direction du Palais des Beaux-Arts de Lille qui a facilité mon travail de recherche, Bruno Girveau, Alain Tapié, Stéphanie Devissaguet, Anne- Françoise Lemaître, ainsi qu’aux membres du jury pour le temps et l’attention qu’ils ont bien voulu accorder à mon travail, Vincent Amiel, Luc Lang, José Moure et Antonio Somaini. Je remercie celles et ceux qui m’ont diversement aidé, me signalant, me communiquant telle œuvre, tel livre, tel article, m’éclairant sur tel point, ou qui m’ont invité, au fil des années, à parler ici ou là d’un des aspects de cette recherche : Laetitia Barragué-Zouita, Jérémy et Agnès Fabre, Magali et Pierre Fasula, Virginie et Gautier Labrusse, Frank Schabaver… Je tiens à saluer le soutien de mes amis Calmin Borel, membre du comité de sélection de la Compétition Labo et de la Sélection International du Festival du Court- Métrage de Clermont-Ferrand et Philippe Franck, historien de l’art, concepteur et critique culturel, producteur, créateur sonore et intermédiatique, directeur de Transcultures, centre des cultures numériques et sonores (Belgique). Ils ont tous deux participé à enrichir ma culture des images contemporaines en me communiquant, prêtant, offrant des documents, des films, des références qu’ils venaient de découvrir au cours de leurs pérégrinations festivalières. Commencée en 2008, cette thèse a accompagné ma vie personnelle et professionnelle et a souvent fait l’objet de discussion avec les artistes, les auteurs, les historiens et les chercheurs des expositions dont je me suis occupé en tant que commissaire au Palais des Beaux-Arts de Lille. Ces personnalités ont toutes témoigné de l’intérêt à mon sujet de thèse et ont pris plaisir à me livrer leurs impressions sur le numérique et son évolution lors d’échanges toujours passionnants. Le dialogue s’est parfois poursuivi au téléphone, par e-mail et lors de nouveaux rendez-vous. Je tiens donc à remercier tout particulièrement, dans l’ordre alphabétique, les deux membres du groupe de musique AIR (Jean-Benoît Dunckel, Nicolas Godin), l’artiste japonais Ryuta Amae, la conservatrice générale Guillemette Andreu-Lanoé (pour ses conseils de lecture sur l’Antiquité), le cinéaste Jean-Jacques Annaud, l’écrivain-scénariste Jean-Claude Carrière, l’artiste-designer Claude Courtecuisse, l’écrivain et érudit Umberto Eco (pendant la 4 réalisation du documentaire Umberto Eco, derrière les portes, 2012 de Teri Wehn Damisch), le plasticien et metteur-en-scène Jan Fabre et sa collaboratrice Barbara De Coninck, le sculpteur anglais Antony Gormley, l’ambassadeur belge, grand amateur d’art Leo Peeters, l’artiste Ernest Pignon-Ernest, la sculptrice américaine Rona Pondick, le plasticien anglo- italien Quayola, le musicien britannique Scanner (Robin Rimbaud), le vidéaste américain Bill Viola et sa femme Kira Perov avec qui j’ai échangé par email sur l’installation Room of St John of the Cross pendant la préparation de l’exposition Portraits de la Pensée, 2011, la réalisatrice de films sur l’art Teri Wehn-Damisch, qui me rapportait aussi les impressions de son mari, le théoricien de l’art Hubert Damisch. Toute ma reconnaissance va à Fleur Morfoisse qui m’a soutenu ces dernières années dans l’achèvement longtemps différé de cette thèse auquel elle a su croire, avec dévouement et générosité. Un grand merci à ma mère pour son écoute et pour sa relecture. Merci aussi à mes beaux- parents de m’avoir épaulé en s’occupant de mon fils pendant mes longues heures de lecture et d’écriture. Enfin, je tiens à saluer et remercier la patience d’ange de mon fils Alexis et de mon épouse Marie-Jeanne qui m’ont (trop) souvent vu le nez plongé dans les livres ou devant l’ordinateur pour rédiger cette recherche, qui s’est imposée au fil du temps comme un membre de la famille. 5 TABLE DES MATIÈRES INTRODUCTION 10 Le simulacre numérique 10 Le numérique face au vivant 14 Présence, représentation, simulation du vivant au temps du digital 16 PARTIE 1 / PRÉSENCE – RELATIONS DU NUMÉRIQUE AVEC LE VIVANT 21 CHAPITRE 1.1. – LE VIVANT DANS L’IMAGE 24 1.1.1. – LA CHAIR DE L’IMAGE 25 « La vie est le roman de la matière » (Cioran) 25 L’art, le conte des matières 27 La ressemblance par contact 29 1.1.2 – LA RECOMPOSITION DU VIVANT PAR L’IMAGE 32 Du corps préservé à l’image du vivant sans corps 32 Le vivant retrouvé 34 1.1.3 – LA REPRÉSENTATION DU VIVANT SANS CORPS 35 « Les corps s’éloignent » (Amiel) 35 1.1.4 – LE SENTIMENT DE LA MATIÈRE 37 L’imprégnation de la matière 37 L’allégorisation des matières 40 CHAPITRE 1. 2 - L’IMAGE « VIVANTE » 46 1.2.1 – LA POÉTIQUE DE L’INCARNATION 47 L’analogie : l’image devient « chair » 47 L’Incarnation : L’« Esprit » devient image-chair 49 Une relation vivante à l’invisible 50 Le sensible en direction de l’intelligible 52 1.2.2 – LE VISAGE COMME MATIÈRE 57 La tête, mémoire de la représentation du vivant 57 La plasticité du visage devient masque 60 1.2.3 – LA PRÉSENCE DE L’IMAGE 63 La présence faite image 64 1.2.4 – LA MODÉLISATION DU VIVANT 74 « Être là, comme en vrai, presque vivant » (Folman, Le Congrès) 76 La « substance » du numérique 77 Une immortelle de synthèse 78 La technologie dans le corps, la multiplication des sens 84 CHAPITRE 1.
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