Cette thèse se penche sur les parcours et les pratiques d'artistes numériques naviguant au sein des secteurs multimédias de Montréal. L'étude des parcours de onze artistes numériques montréalais nous a permis de constater que leurs pratiques de production en arts numériques ne sont pas réductibles aux logiques de production propres à un seul lieu, que ce soit une entreprise privée, un centre d'art numérique ou encore l'université. La question du maintien de ces pratiques amène à prêter attention aux pluralités des éléments qui informent leurs (re)constitutions perpétuelles, ce qui appelle de nouveaux modes de théorisation des parcours d'artistes numériques et de leurs pratiques. Nous proposons une nouvelle manière de penser ces parcours - en tant que trajectoires - pour mettre en valeur la pluralité des modes d'articulation de ces pratiques. Elles sont ainsi considérées du point de vue de leurs médiations coconstitutives avec différents éléments. Nous avons isolé trois ensembles d'éléments pour rendre compte du maintien des pratiques en arts numériques et au travers desquels ces dernières déploient leurs multiples effectivités. Le premier ensemble recouvre les technologies intervenant dans la pratique en arts numériques. Le deuxième ensemble a trait au milieu des arts numériques et aux modes de l'organisé afférents. Enfin, le troisième ensemble traite du rapport entre les mondes de l'entreprise et la pratique en arts numériques. Ces trois ensembles d'éléments participent de diverses manières à la constitution, au maintien et à la singularisation de pratiques en arts numériques qui déploient leurs effectivités largement au-delà d'un espace social circonscrit ou spécialisé. / This thesis examines the paths and practices of digital artists navigating within the multimedia sectors of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that production practices in digital arts cannot be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or a university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual (re)constitutions. This requires new ways of theorizing digital artists' paths and practices. We propose a new way of conceptualizing these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies involved in digital art practices. The second set relates to the digital arts community and the organizational modes characteristic of those locales. Finally, the third set deals with the relationship between the worlds of business and practices in digital arts. These three sets of elements contribute in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space. / Réalisée en cotutelle avec l'université Sorbonne Nouvelle - Paris 3

Cette thèse a pour principal objectif d’étudier la nouvelle configuration de la valeur de l’art moderne et contemporain du Moyen-Orient, et plus précisément la perception qui s’est fait jour à partir du milieu des années 2000, où Dubaï serait devenu le lieu de fixation de la valeur économique et de diffusion de l’art à différents niveaux : national, régional et international. L’art visuel du Moyen-Orient, jusqu’alors limité aux scènes nationales et négligé sur la scène internationale, connaît une évolution locale ainsi qu’un rayonnement international inédit. La mutation innovante du monde de l’art de cette zone géographique repose, en général, sur l’implantation de maisons de vente et sur la formation d’un marché international pour l’art du Moyen-Orient à Dubaï. Ce nouveau dispositif a influencé non seulement l’écosystème du monde national de l’art, mais aussi le choix d’artistes, des commissaires d’exposition autant que des conservateurs des musées internationaux. L’accroissement de champ du marché est l’objet principal de cette étude, et l’ajustement du champ artistique un objet secondaire. En retraçant l’histoire des pays étudiés par une approche sociologique de l’art, il s’agira, d’abord, de cerner l’évolution quantitative et qualitative des galeries d’art visuel, après les avoir identifiées en tant qu’acteur multifonction du monde de l’art, en ce qui concerne trois pays emblématiques de l’art de la région : l’Iran, le Liban et les Émirats Arabes Unis ; ensuite, il s’agira d’analyser leurs activités internationales ainsi que leur rayonnement à la fois régional et international, avant la formation du marché de l’art de Dubaï en 2006 et jusqu’à 2015. La méthodologie employée pour ce travail sollicitera un certain nombre d’outils propres aux sciences sociales et humaines : l’entretien compréhensif, l’enquête quantitative, l’analyse typologique, l’étude documentaire et l’enquête de terrain : l’immersion et l’observation participante. / The main objective of the present doctoral thesis is to study the configuration of the value of Middle Eastern modern and contemporary art. More precisely, we look at how Dubai has emerged in international perceptions as the center for art appraisal and diffusion nationally, regionally and internationally. Middle Eastern visual arts, mainly limited to their national settings, have been overlooked on an international level. Today, we are witnessing their unprecedented emergence and appreciation on the international scene. The innovative mutation of the art world within this geographical zone is mainly due to the implantation of auction houses and the creation of an international market for Middle Eastern art in Dubai. These new measures have not only influenced the ecosystem of the art milieu on a national level, but have also impacted the choice of artists, exhibition commissioners and curators of international museums. The development of this market is the principal object of the present study and as a secondary object, we look at the adjustments made by the art world to adapt to this new art scene. Through the Sociology of Art approach, we retrace the history of three emblematic countries (Iran, Lebanon and the United Arab Emirates) with the aim of understanding the quantitative and qualitative evolution of their visual art galleries identified as multifunctional actors of the art world. We then analyze their international activities as well as their expansion, regionally and internationally, before the creation of the art market of Dubai between 2006 and 2015. Our methodology is based on the research methods of the social sciences: comprehensive interviews, quantitative investigations, typological analyses, documentation review and field work through immersion and participatory observation.

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攝影問世以來，所帶來的影響與文化一直都是人們研究的對象，數位時代後，攝影的樣貌更是大幅改變。隨著智慧型手機的普及，以及各式後製app的興起，分享後製過照片至社群平台成為人們日常生活的常態；在廣受年輕人歡迎的Instagram上，也可看見許多精心後製、特別設計過的相片。本研究探討當今高中女生如何使用app處理手機相片，並發佈於Instagram上展現個人與集體的美感與風格，並進一步了解攝影於她們的意義。 本研究將以符擔性理論（Affordance Theory）作為切入點，透過深入訪談法與實物分析法，了解高中女生後製照片的實踐想法與過程，並持續追蹤、觀察高中女生Instagram上照片風格的呈現及變化。透過兩種研究方法，以更深入理解高中女生對待相片的心態。 研究發現，智慧型手機與Instagram等科技提供了多種符擔性，高中女生與科技互動，並依不同的需求感知到不同的符擔性，並據此做出不同的行為特性；同時，她們也因應自己所需，翻轉科技符擔性的限制，呈現了更多樣的實踐與互動可能。而在現實與虛擬社群中，她們的創意相片也共享了基本的設計原則，創造出屬於她們自己的藝術世界，並重新召喚了靈光再現。 / Since the time of its emergence, the effects that photography has had on culture has been studied by countless people. When it comes to the face of photography, the digitalization era changed it dramatically. The ubiquitousness of smartphones and rise of phone-editing applications has also made sharing apped photos to become part of our daily routines. On the photo-sharing app known as Instagram, the most popular site among teenagers, many well-crafted and expressive images can be found. This study aimed at exploring how Taiwanese high school girls use apps to manipulate their photos, and share these photos on Instagram, in order to demonstrate their personally creative and collective aesthetics. 　 This research was based on the Affordance Theory and contained two methods: in-depth interviews and methods of practical analysis in order to gain a deeper understanding of high school girls’ attitudes toward photography. 　 The study displayed that smartphones and Instagram provide a variety of affordances. Through interactaction with technology, high school girls perceive different affordances based on their own demands. They also interpret the limits of affordances, and thus do more or less designing practice on their photos, depending on their needs. The creativity of high school girls’ images share basic design principles which enable them to create their own art world and a specific aura with their photos.

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Au carrefour de la sociologie de la culture et de la sociologie de la déviance, ce travail porte sur les dimensions festives et oppositionnelles du monde des free parties, qui s’articule autour de manifestations techno clandestines et marginales. A partir d’une enquête ethnographique, il s’agit d’examiner une pratique culturelle et musicale mais aussi de saisir la variété des expressions oppositionnelles que les jeunes engagés dans ce monde y déploient. A la suite d’un travail de clarification théorique, cette recherche s’inspire de la notion de contre-culture, dans laquelle l’idée de conflictualité est centrale. Cet outil conceptuel permet d’explorer diverses facettes de l’univers free, controversé et encore largement méconnu, et notamment sa composante « contre ». On peut ainsi montrer que, si le monde free est loin d’être réductible à ses dimensions oppositionnelles, celles-ci peuvent donner un relief particulier à la fête – et réciproquement. La pertinence du croisement entre l’objet « free parties » et l’outil conceptuel « contre-cultures » est due en partie à la double déviance, sociale et légale, qui caractérise les fêtes techno étudiées. Les différents aspects oppositionnels mis en évidence dans ce monde juvénile, ainsi que la distinction entre non-conformité et contestation qui en émane, permettent d’analyser le rapport entre déviance, illégalité, conflictualité/illégalité à la lumière du cas des free parties. / At the crossroads of the sociology of culture and the sociology of deviance, this work focuses on the festive and oppositional dimensions of the free party world, which revolves around clandestine and marginal techno events. Based on an ethnographic research, this study aims to examine a cultural and musical practice but also to grasp the various oppositional expressions unfolding within this youth culture. After providing a theoretical clarification, I draw on the notion of counterculture, in which the idea of conflict is central. This conceptual tool enables me to explore various facets of the free party universe, controversial and still largely misunderstood, and in particular its antagonistic elements. Thus I show that, while the free party world does not amount to its oppositional dimensions, the latter can enhance the festive experience – and vice versa. The double deviance – both social and legal – characteristic of the studied techno parties makes it all the more relevant to bring together this object of study and the concept of counterculture. The various oppositional aspects of this youth culture I highlight, as well as the resulting distinction between nonconformity and contention, enable me to analyze the relationship between deviance, illegality, and conflict/counterculture in the light of the case of free parties.

Background: Since the 1980s, society has been hit hard by economization and deprofessionalization through neoliberal abstract forms of governance. Control is achieved by measuring efficiency through simplified models. The demand for measurability has also hit the art field where administration and paperwork have increased. As an effect, a large part of cultural funding goes to non-artistic activities. Values other than those of art are focused on and art institutions are having to adapt to the logic of the market and meet commercial interests. In addition, the conditions of artistic production have deteriorated: there are no resources, space or time yet, which threatens art production. The situation is, to say the least, strained for many artists, who are more or less forced into their own corporate activities by the field's surrounding organizations and institutions. However, there are those who work against this development and act for change. Artists have collectively organized themselves outside the city that no longer meets the condition for artistic production. They are about 40 organisations spread across Sweden. Through networks, they have united under one designation; the self-organized. They could be said to constitute a micro-resistance to the current order. Purpose: The purpose of this study is to investigate what the self-organized means. Which ideas and practices make sense and distinction concerning the self-organised? We want to understand and highlight how the self-organised are motivated and how they go about trying to alter and expand the artistic field and the society at large. Methodology: Using a qualitative approach, the study has been a case study of a central actor in the self-organized fields; Art Lab Gnesta. Materials have been collected through a group interview, participant observation and through written sources produced by the study object itself. This is to better understand underlying ideas and what it is that makes sense for self-organized arts organizations. Conclusions: This study is about a possible institutionalisation process in its future. The self-organised is a kind of avant-garde of the 20th century. In this study, we conclude that the self-organised should be understood as a concept that provides alternative frameworks in a world characterized by an unsustainable order. The self-organised opens up opportunities and shows other ways to go. If many join the concept, changes can possibly be achieved. We have seen that they succeed in reaching out and are legitimized by both the authorities, the art world and the local population. When enough people act on similar ideas, they can constitute institutional pressure and possibly create change. We understand the self-organised as a predestination and a strategy for a potential future. It is about change, nothing else can be determined since we are in the initial stage of the course of event. They are a grassroots movement. / Bakgrund: Samhället har allt sedan 1980-talet drabbats av en hårt driven ekonomisering och avprofessionalisering via nyliberala abstrakta styrformer. Kontroll uppnås genom att via förenklade modeller mäta effektivitet. Kravet på mätbarhet har även drabbat konstfältet där administrationen har ökat. Således går en stor del av kulturfinansieringen åt till icke-konstnärlig verksamhet. Andra värden än den av konsten fokuseras och konstinstitutioner har i större utsträckning marknadsanpassas och möter kommersiella intressen. Utöver detta har konstnärers produktionsförhållandena försämrats: det finns inte rum, tid och resurser nog, varvid konsten hotas. Situationen är minst sagt ansträngd för många konstnärer, som mer eller mindre tvingats in i egen företagsverksamhet av fältets omgivande organisationer och institutioner. Det finns dock dem som tar spjärn mot denna utveckling och verkar för en förändring. Konstnärer har kollektivt organiserat sig utanför staden som inte längre erbjuder. De är ett fyrtiotal verksamheter spridda över Sverige. Genom nätverk har de förenat sig under en beteckning; de självorganiserade. De skulle kunna sägas utgöra ett mikro-motstånd mot rådande ordning. Syfte: Syftet med denna studie är att undersöka vad de självorganiserade betyder. Vilka idéer och vad för praktiker ger mening och distinktion gällande de självorganiserade? Vi vill förstå och belysa hur de självorganiserade motiveras och hur de går tillväga för att försöka uppnå förändring av den ordning som de tar spjärn emot på det konstnärliga fältet och i samhället i stort. Metod: Utifrån en kvalitativ ansats har studien utgjorts av en fallstudie på en central aktör på de självorganiserades fält; Art Lab Gnesta. Material har samlats in genom en gruppintervju, en deltagande observation samt genom skriftliga källor producerade av studieobjektet själv. Detta för att bättre förstå bakomliggande idéer och vad det är som ger mening för självorganiserade konstorganisationer. Slutsatser: Denna studie handlar om en eventuell institutionaliseringsprocess i sitt blivande. De självorganiserade är ett slags 2020-talets avantgarde. I studien kommer vi fram till att de självorganiserade ska förstås som ett koncept som ger alternativa ramverk i en värld präglad av ohållbar ordning. De självorganiserade öppnar upp för möjligheter och visar på andra vägar. Ansluter många till konceptet kan eventuellt förändringar uppnås. Vi har sett att de lyckas nå ut och legitimeras av både makthavare, konstvärld och lokalbefolkning. När tillräckligt många handlar utifrån liknande koncept kan de utgöra ett institutionellt tryck och eventuellt skapa förändring på fältet. Vi förstår de självorganiserade som en predistination och en strategi för en potentiell framtid. Det handlar om förändring, inget annat kan slås fast då vi är i skeendets initiala stadie. De är en gräsrotsrörelse.

I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.