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Code, Design Et Metadesign Code, design et metadesign. Une réflexion sur l’éventuel antagonisme entre «code» et «graphisme» à travers ce constat à débattre : privilégier l’apprentissage de la programmation réduit la qualité graphique des projets des étudiant(e)s). Marc Wathieu, septembre 2007. http://www.multimedialab.be Code, design et metadesign. «The medium is the message». Marshall McLuhan. «Form follows function». Louis Sullivan. En matière de design (design graphique, webdesign), il est toujours efficace d’interroger ces deux formules visionnaires pour (ré)ajuster son centre de gravité. Une déclinaison de Andrew Vande Moere ¹ pourra aussi servir de levier : «Form Follows Data». ¹ «Form follows Data: the Symbiosis between Design and Information Visualization», 2005. Andrew Vande Moere est conférencier à l’Université de Sydney.. Code, design et metadesign. Distinguer «graphisme», «design graphique» et «communication visuelle» est un préalable utile. Graphisme. Le graphisme, souvent entendu comme une activité dédiée à l’industrie graphique, est avant tout une dis- cipline qui s’intéresse aux qualités graphiques et esthétiques dans le domaine de la création de signes (écriture au sens large, trait, typographie, couleur). Le graphisme se positionne par rapport à l’art, puis en applique l’enseignement à des objets de communication. Pour un(e) étudiant(e), l’acquisition d’une capacité à créer un graphisme de qualité et l’acquisition d’une capacité à intégrer valablement son travail dans la chaîne graphique sont deux choses différentes. Design graphique. Le design graphique est une discipline qui concerne le traitement formel des informations et des savoirs. Le designer graphique est un médiateur qui agit sur les conditions de réception et d’appropriation des informa- tions et des savoirs qu’il met en forme. Il intervient dans un tissu complexe de relations entre un lieu et son environnement, les informations et les médias, l’actualité et l’histoire, le commanditaire et les destinataires ¹. Le design graphique se pose d’emblée comme une méthode : explorer un problème objectif, et déterminer des solutions créatives, ingénieuses et adaptées à ce problème. Un designer graphique ou un webdesigner va d’abord travailler sur la fonction de sa publication. Il va en- suite la mettre en forme puis la diffuser selon les normes techniques propres à son médium. Communication visuelle. La communication visuelle s’intéresse à l’ensemble du champ de la communication par le signe et l’image (signalétique, mise en forme éditoriale, identité visuelle, relation texte-image) en relation avec les théories sur les fonctions du signe (sémiologie), les rapports entre le texte et l’image ou encore certains aspects de la psychologie comportementale. La communication visuelle examine les conditions dans lesquelles des signes produisent du sens, dans le cadre prédéfini des codes et des signes déterminés par notre culture. Pour ces raisons, la communication visuelle est souvent entendue comme un domaine débouchant naturellement sur la publicité, qui en utilise abondamment les enseignements. Cette assertion est inexacte : la communication visuelle trouve des appli- cations dans tous les domaines qui touchent à l’image, dont bien sûr en première ligne le design graphique et le graphisme. ¹ «Quels outils critiques pour comprendre le design graphique ?» Exposition et colloque à l’École Régionale des Beaux-Arts de Valence (F), mars 2007. Code, design et metadesign. Design et code. Dans un contexte numérique, les notions d’image et de code se rencontrent et exploitent un dialogue pas- sionnant entre l’art et la technique, dans une tradition du design issue du Bauhaus ¹, lui-même influencé par des mouvements artistiques tels que De Stijl ou le Constructivisme. La définition d’une image est désormais conditionnée par son affichage à l’écran ou sa transmission sur le réseau. La description d’une image sous forme de nombres, de vecteurs ou de matrice, lui donne de facto le statut d’un texte : son codage. Il s’agit d’abord d’un texte descriptif dont l’image est le résultat. Nous manipulons la plupart du temps ces images, non pas directement sous leur forme codée, mais bien comme résultat de ce code exécuté par un logiciel, dont les fonctions sont accessibles par une interface graphique. Ce type d’outil masque donc la vraie nature des images : nous les traitons «en surface» et non dans leurs entrailles numériques à l’aide d’un éditeur hexadécimal... La notion de code reste cependant fondatrice et fondamentale : les informations servant à mettre en forme un document et ses composants sont elles-mêmes codées. Le comportement graphique des contenus et des contenants est soumis à un langage formel, qui aide notamment à structurer la présentation de grandes quantités d’informations pour en résoudre l’accessibilité et l’ergonomie. Qu’il s’agisse d’extraire des données, d’assembler des pixels, de créer la grille d’une mise en page, de gérér une publication ou bientôt de spacialiser l’information, on voit à quel point les notions de structure et d’ar- chitecture de l’information sont centrales. Le code en est un outil important. ¹ Le Bauhaus - mot intraduisible, contraction de bau (la construction) et haus (la maison) - était une école d’art, de design et d’architecture fondée en 1919 à Weimar (Allemagne) par Walter Gropius. Il ferma ses portes en 1933 sous la contrainte des nazis. Son objectif premier était de combattre la menace d’uniformité qui résultait de la mécanisation en amplifiant la collaboration «entre le commerçant et le technicien d’une part, et l’artiste d’autre part». Lire : «Propositions en vue de la fondation d’un établissement d’enseignement, conseiller artistique de l’industrie, des mé- tiers d’art et de l’artisanat» par Walter Gropius (1916) in «Anthologie du Bauhaus», sous la direction de Jacques Aron, Didier Devillez éditeur, Bruxelles, 2002. 2 http://www.multimedialab.be/doc/citations/walter_gropius_propositions.zip Code, design et metadesign. Qualifier des données. La tâche du designer étant d’apporter des solutions au traitement et à la transmission d’informations, il est confronté aux processus, aux méthodes, aux fonctions et aux enjeux des nouveaux médias qui les diffusent, incluant différentes couches de l’information : code, données et métadonnées, balises et méta-balises, texte et hypertexte, média et hypermédia. La perception de ces différentes couches est capitale, car elles définissent la hiérarchie et le statut des informations, les conditions de leur extraction, et donc leur mise en forme et le résultat escompté. La couche la plus basse est celle des données brutes, traitables indifféremment par la machine, quelles que soient leur nature, unifiant du même coup programmes et données. Cette caractéristique est majeure car elle annonce à la fois une souplesse de traitement et la nécessité de qualifier et de structurer ces données pour en définir une finalité (paramètres, type de document, fonction, méthodes, processus, etc). On remar- que à ce stade comment ce matériau unique peut favoriser les transmodalités : un son peut devenir une image, un signal WiFi peut être traduit en son... et un texte tout naturellement devenir une image. Hypermédia. «Hyper» désigne la couche d’information supplémentaire qui qualifie un document par rapport à sa locali- sation, à son indexation dans une structure, celle-ci permettant des interconnexions avec d’autres docu- ments, éventuellement de natures différentes (texte, image, son, couleur, autres programmes, etc). Dans ces conditions, le terme «multimedia» (plusieurs média) peut avantageusement être remplacé par «hyper- media», un médium unifiant toutes les formes d’expressions dans un contexte unique, programmant leurs relations et leurs connexions. Metadesign. «Meta» désigne un niveau d’abstraction supérieure : une métadonnée sert à définir ou décrire une autre donnée. Par extension, le terme «metadesign» ¹ désigne un ensemble de méthodes conceptuelles et pra- tiques permettant d’appréhender un système d’information, le modelant pour en extraire des solutions in- tégrées, exploitant ses modalités perceptives et cognitives. Cette approche du design, récente et globale, tente d’apporter une réponse contemporaine à l’évolution des nouvelles technologies de l’information et de la communication. Le metadesign envisage l’information dans toute ses dimensions et ses processus (en anglais, «computation») : gestion, stockage, traitement, mise en forme, transport, diffusion, accessibilité. Le futur des réseaux (notamment du web) et la mise en forme de données complexes en inspire évidemment la pratique : datascape, spacialisation de données, installations immersives, pratiques transmodales, etc... ¹ Lire : «Metadesign : de l’analogie aux systèmes programmatiques» et «Du design au metadesign», à propos du tra- vail du collectif bruxellois Lab[au]. 2 http://www.multimedialab.be/doc/citations/labau_metadesign.zip Code, design et metadesign. Envisager le code et le design graphique de manière isolée n’est pas une position cohérente, l’un définis- sant l’autre. Je livre ici une liste (en chantier) tentant de montrer comment ils partagent des caractéristi- ques communes au sein d’un système d’information. Code : Design graphique : Modularité : itérations, boucles patterns, motifs Grille : écran, résolution, tableaux mise en page, grille typographique, trame Processus : programme méthodologie Gestion : indexation, traitement de données hiérarchie de l’information, accessibilité Information : données, paramètres signes, caractères, icônes Logique : algorithmique
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