This thesis introduces the use of technological failure in visual arts, described as glitch art in the Anglo-American literature, and reveals its specific qualities. The author examines creative exploration of glitch both in image compression formats, and in the user interface of web sites, computer games or operating systems. In addition, the research presents arguments that advocate glitch art in a broader artistic discourse. It does so firstly by analogy, when it compares glitch art manifestations to conceptual and visual qualities of the paradigmatic works of art and artistic movements, and secondly by Dickie's institutional classification, when it analyzes glitch art communities and appreciation by the curatorial, critical and academic public. The central argument of this thesis is that glitch art next to a purely aesthetic experience provides an insight into the heart of technology, which exposes its functionality. Thus it contributes to a deeper understanding of its physical, structural and ideological fundamentals, that have become in everyday life almost invisible due to the logic of immediacy. Given the highly relative nature of the term glitch the thesis does not seek a hard definition of its specifics, but rather asks the cause of this naming (designation) that is why we perceive a...

La présente recherche aborde la notion d’écriture technomorphe dans la musique contemporaine. Ce procédé, consistant à transposer des modèles électroniques dans la domaine instrumental, est apparu peu après la création des studios de la Westdeutscher Rundfunk (WDR) et du Groupe de Recherche Musicale (GRM). Au cours de ce mémoire, nous verrons l’origine et l’évolution de cette écriture, ses possibles formes ainsi que des exemples de sa dissémination dans la musique contemporaine. Nous présenterons également quatre oeuvres, réalisées dans le cadre de la maîtrise, proposant l’idée de musique hantologique instrumentale, écriture technomorphe inspirée par les artéfacts audio venant de la défectuosité des supports d’enregistrement analogiques et numériques. / This research explores the notion of technomorphic writing in contemporary music. This process, consisting of transposing electronic models into instrumental music, appeared shortly after the creation of the Westdeutscher Rundfunk (WDR) and Groupe de Recherche Musicale (GRM) studios. This dissertation addresses the origin and evolution of this approach, its possible forms and examples of its dissemination in contemporary music. Four new pieces, created during this master's degree, further explore the idea of hauntological instrumental music, inspired by audio artifacts from the defective analog and digital recording media.