Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateurs. / Mixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters.

Esta pesquisa aborda o tratamento da informação em ambientes digitais, tema que envolve o registro, a organização dos dados e dos acervos e a preservação das obras, considerando os meios tecnológicos existentes. Sua base teórica repousa no reconhecimento da Documentação e recorre também às teorias da Ciência da Informação, bem como na relação da organização do conhecimento com a tecnologia. Esse aporte é, por sua vez, relacionado ao campo da Arte e da Cultura Digital, considerando as peculiaridades das artes digitais, cujos trabalhos, geralmente realizados de forma colaborativa, são muitas vezes efêmeros, uma vez que disponibilizados para atualização. Considera-se que a maior dificuldade quanto ao tratamento das artes digitais é exatamente seu caráter paradoxal, uma vez que procura-se registrá-la mantendo a possibilidade de sua reutilização e/ou atualização. A metodologia utilizada é qualitativa e exploratória, mobilizando teorias de tratamento e exemplos concretos de organização adotados institucionalmente. Exploramos os conceitos de documento e documentação no âmbito da tecnologia e da arte e procuramos apresentar possibilidades de práticas documentais passíveis de serem utilizadas no trato de acervos e sistemas para a informação das artes digitais. A análise de casos concretos de sites de arte digital organizados por consórcios e outros tipos de instituições permite descrever os vários recursos informacionais utilizados, incluindo problemas de interoperabilidade e de preservação adotados. A sistematização das características das iniciativas analisadas permite identificar semelhanças e diferenças entre as formas de tratamento. Observamos que os ambientes de informação das artes digitais são estruturados de maneira complexa, uma vez que, além de utilizar mídias audiovisuais e tecnologias computacionais diversas, caracterizam-se por trabalhar com conteúdos heterogêneos e com uma diversidade de tipologias documentais. / The subject matter of this research addresses information treatment in digital ambience. It involves data processing, collection organization and art works conservation, considering the existing technological media. Its Theoretical base grounds in Documentation, theories of Information Science, as well as knowledge organization and technology. On the other hand, this approach is related to both Digital Art and Culture, considering all art works singularities that due to the fact of being made in a collective way are often ephemeral. The paradoxical features found in digital art treatment are considered the harder issue, once one has to record it in order to its reuse and/or updating possibilities. The methodology used is qualitative and exploratory, working on information treatment theories and organization institutionally accepted examples. Debate about information condition and technology statute is considered the starting point in our analysis to qualify digital art in informational ambience. Document and documentation in art and technology sphere is explored. Nontraditional documentary practices possibilities are being considered in digital art information systems and collection treatment. Digital art sites made by consortiums and other organization cases analysis allows to describe several informational resources utilized, including interoperability and preservation troubleshooting adopted. We conclude that Digital art information ambience is structured in complex manners. Various audiovisual media and computational technologies are used to work with miscellaneous content and different types of documents.

Esta pesquisa aborda o tratamento da informação em ambientes digitais, tema que envolve o registro, a organização dos dados e dos acervos e a preservação das obras, considerando os meios tecnológicos existentes. Sua base teórica repousa no reconhecimento da Documentação e recorre também às teorias da Ciência da Informação, bem como na relação da organização do conhecimento com a tecnologia. Esse aporte é, por sua vez, relacionado ao campo da Arte e da Cultura Digital, considerando as peculiaridades das artes digitais, cujos trabalhos, geralmente realizados de forma colaborativa, são muitas vezes efêmeros, uma vez que disponibilizados para atualização. Considera-se que a maior dificuldade quanto ao tratamento das artes digitais é exatamente seu caráter paradoxal, uma vez que procura-se registrá-la mantendo a possibilidade de sua reutilização e/ou atualização. A metodologia utilizada é qualitativa e exploratória, mobilizando teorias de tratamento e exemplos concretos de organização adotados institucionalmente. Exploramos os conceitos de documento e documentação no âmbito da tecnologia e da arte e procuramos apresentar possibilidades de práticas documentais passíveis de serem utilizadas no trato de acervos e sistemas para a informação das artes digitais. A análise de casos concretos de sites de arte digital organizados por consórcios e outros tipos de instituições permite descrever os vários recursos informacionais utilizados, incluindo problemas de interoperabilidade e de preservação adotados. A sistematização das características das iniciativas analisadas permite identificar semelhanças e diferenças entre as formas de tratamento. Observamos que os ambientes de informação das artes digitais são estruturados de maneira complexa, uma vez que, além de utilizar mídias audiovisuais e tecnologias computacionais diversas, caracterizam-se por trabalhar com conteúdos heterogêneos e com uma diversidade de tipologias documentais. / The subject matter of this research addresses information treatment in digital ambience. It involves data processing, collection organization and art works conservation, considering the existing technological media. Its Theoretical base grounds in Documentation, theories of Information Science, as well as knowledge organization and technology. On the other hand, this approach is related to both Digital Art and Culture, considering all art works singularities that due to the fact of being made in a collective way are often ephemeral. The paradoxical features found in digital art treatment are considered the harder issue, once one has to record it in order to its reuse and/or updating possibilities. The methodology used is qualitative and exploratory, working on information treatment theories and organization institutionally accepted examples. Debate about information condition and technology statute is considered the starting point in our analysis to qualify digital art in informational ambience. Document and documentation in art and technology sphere is explored. Nontraditional documentary practices possibilities are being considered in digital art information systems and collection treatment. Digital art sites made by consortiums and other organization cases analysis allows to describe several informational resources utilized, including interoperability and preservation troubleshooting adopted. We conclude that Digital art information ambience is structured in complex manners. Various audiovisual media and computational technologies are used to work with miscellaneous content and different types of documents.

Esta pesquisa tem como objeto de estudo principal as manifestações do labirinto nos jogos eletrônicos, dando continuidade às nossas pesquisas sobre o labirinto e à nossa produção artística em novas mídias. As investigações realizadas se deram em duas frentes, sendo uma teórica, onde fizemos uma revisão da bibliografia sobre o labirinto, com a finalidade de termos os subsídios necessários para analisar a presença do labirinto nos jogos eletrônicos. Esta análise se deu em termos espaciais e temporais, tomando a forma de dois capítulos da dissertação, tendo o apoio de estudos na área dos jogos eletrônicos e de referências da literatura e do cinema. Já na frente artística, realizamos nove trabalhos, empregando mídias digitais, que se relacionam, de alguma forma, com a temática desta pesquisa. Apresentamos estes trabalhos ao longo da dissertação, dedicando um breve texto a cada um deles, onde apontamos o diálogo entre eles e os jogos eletrônicos, assim como com referências artísticas, literárias, cinematográficas e teóricas. / This research is concerned with the ocurrences of labyrinths in electronic games, continuing our studies related to labyrinths and our artistic work in new media. The work done comprises two parts; the first one theoretical, where we revised selected references about the labyrinth, aiming to collect elements to analyse the ocurrences of labyrinths in electronic games. This analysis was performed in spacial and temporal terms, comprising two chapters of this dissertation, with the support of studies related to electronic games and literary and cinematographical references. In the artistic part, we developed nine works, using digital media, that are related, somehow, with the subject of this reasearch. These works are introduced along the dissertation, with a short text about each one, where we evidence the dialog between them and electronic games, as well as with artistic, literary, cinematographical and theoretical references.

Cette recherche interdisciplinaire se situe à l'intersection des sciences cognitives, de l'informatique et des arts. Nous y traitons de questions relatives à la perception et compréhension d'une expérience artistique dans le contexte des technologies numériques. Nous considérons l'ordinateur comme un outil puissant de création et nous nous posons la question du comment son rôle peut être fonctionnellement introduit dans les arts numériques. Une des clés de la réponse à cette question se situe dans la notion d'incorporation (embodiment). Il s'agit d'un aspect de la perception et de la cognition humaine que nous ne pouvons pas approcher de façon directe, car il s'agit d'un processus émergent qui se construit avec l'action. Dans cette thèse, nous avons fait émerger quatre critères pour qualifier puis tenter d'évaluer les processus d'incorporation en situation créative, soit de réception soit de réception et d'action. Ces critères sont : la cohérence des retours sensoriels proposée par le système technologique, par exemple la cohérence entre le son et l'image ou entre le son, le geste et l'image ; la nature de l'action telle que perçue ou effectuée ; la sensation d'immersion cognitive des participants ; le potentiel évocateur de la situation sensori-motrice proposée à la perception et/ou à l'action.Nous avons mis en œuvre une méthode qualitative pour l'analyse d'expériences multisensorielles et interactives. Des entretiens ouverts ont permis de récolter un corpus de données sous forme d'enregistrements audiovisuels et de textes transcrits de ces entretiens. Un des objectifs de ces entretiens est de favoriser l'expressivité du sujet sur la manière dont il a vécu la situation en amont, voire au-delà, d'un quelconque jugement esthétique. Cette méthode a été utilisée dans de deux types de situations. Dans la première situation, nous avons mené des entretiens avec des spectateurs ayant participé à un concert effectué dans le cadre des Journées d'Informatique Musicale à Grenoble. Pour cela, nous avons choisi sept pièces audiovisuelles d'auteurs différents, qui étaient soit des œuvres jouées sur scène, soit des œuvres enregistrées. Le deuxième cas comporte des entretiens réalisés avec des participants d'une œuvre interactive audio-visio-haptique intitulée « Geste réel sur matière simulée ». Cette installation a été conçue dans le cadre du projet Créativité Instrumentale pour étudier les transformations du processus de création induit par les technologies de la simulation interactive numérique. Elle se décline en trois scènes de simulation multisensorielle réalisées par modèle physique permettant l'interaction instrumentale. Les entretiens avaient lieu pendant et après l'expérience. L'analyse des discours recueillis, nous a permis de mettre en évidence la relation entre l'outil technologique et l'homme. Dans cette thèse, nous proposons un cadre théorique composé de quatre éléments : Cohérence, Immersion, Action et Evocation, à l'aide desquels nous avons analysé les discours de sujets confrontés à des situations multisensorielles numériques actives et ainsi cerner l'embodiment dans telles situations. L'usage de ces quatre éléments dans l'analyse des discours nous a permis de mettre en évidence une multitude de liaisons entre eux qui se déclinent selon les paramètres des scènes virtuelles. Différents mécanismes de compréhension de ces scènes se mettent en place selon la manière dont les sensorialités sont stimulées et nos analyses nous ont permis de qualifier comment le visuel, l'audio et l'haptique pris séparément ou réunis permettent d'appréhender des différentes dimensions de la scène dans sa complexité. / L'auteur n'a pas fourni de résumé en anglais

Esta pesquisa tem como objeto de estudo principal as manifestações do labirinto nos jogos eletrônicos, dando continuidade às nossas pesquisas sobre o labirinto e à nossa produção artística em novas mídias. As investigações realizadas se deram em duas frentes, sendo uma teórica, onde fizemos uma revisão da bibliografia sobre o labirinto, com a finalidade de termos os subsídios necessários para analisar a presença do labirinto nos jogos eletrônicos. Esta análise se deu em termos espaciais e temporais, tomando a forma de dois capítulos da dissertação, tendo o apoio de estudos na área dos jogos eletrônicos e de referências da literatura e do cinema. Já na frente artística, realizamos nove trabalhos, empregando mídias digitais, que se relacionam, de alguma forma, com a temática desta pesquisa. Apresentamos estes trabalhos ao longo da dissertação, dedicando um breve texto a cada um deles, onde apontamos o diálogo entre eles e os jogos eletrônicos, assim como com referências artísticas, literárias, cinematográficas e teóricas. / This research is concerned with the ocurrences of labyrinths in electronic games, continuing our studies related to labyrinths and our artistic work in new media. The work done comprises two parts; the first one theoretical, where we revised selected references about the labyrinth, aiming to collect elements to analyse the ocurrences of labyrinths in electronic games. This analysis was performed in spacial and temporal terms, comprising two chapters of this dissertation, with the support of studies related to electronic games and literary and cinematographical references. In the artistic part, we developed nine works, using digital media, that are related, somehow, with the subject of this reasearch. These works are introduced along the dissertation, with a short text about each one, where we evidence the dialog between them and electronic games, as well as with artistic, literary, cinematographical and theoretical references.

La recherche en art se caractérise par une articulation polarisée entre la pratique artistique et la théorie. Cette thèse propose de transférer ce paradigme symptomatique de cette discipline vers la question pragmatique des modalités de sa communication scientifique. La forme de cette dernière fait débat pour les acteurs des écoles supérieures d'art françaises, qui défendent une liberté face au modèle prédominant de l'écrit universitaire. L'hypothèse formulée par cette thèse consiste à penser que la documentation devient une forme plausible de communication scientifique adaptée à la recherche en art. Pour traiter de cet objet d'étude, la recherche en arts numériques, le plus souvent interdisciplinaire, coopérative et collective, s'est avérée particulièrement pertinente, car la pluralité et la fragmentation de ses résultats permettent justement de sortir de la dichotomie pratique versus théorie. En effet, ces derniers impliquant plusieurs intervenants se partagent entre des créations artistiques, des développements technologiques et des contributions théoriques. Le constat d'un glissement de la documentation vers la communication scientifique est conditionné par l'existence de l'énonciation documentaire ; puisque le savoir, peu importe la pratique discursive utilisée, se concrétise par un discours compris comme le résultat d'un acte énonciatif. Trois études de cas à vocation exploratoire ont été menées autour de trois dispositifs documentaires établis par des acteurs de la recherche en arts numériques, en France et au Québec – le Cahier de Résidence de Kawenga, territoires numériques, le Répertoire des œuvres hypermédiatiques et les autres rubriques du sites internet du laboratoire NT2 et l'Archive Arc_Danse développée au laboratoire Hexagram-UQAM. La méthodologie utilisée érige l'énonciation documentaire pensée dans le prolongement de l'énonciation éditoriale comme un concept opérationnel. Elle s'articule en deux étapes. La première étudie la documentation comme dispositif info-communicationnel en utilisant, selon les terrains, différents outils et modes d'implication du chercheur. La seconde examine les objets documentaires par une approche sémiotique afin d'y relever directement les marques indicielles de l'énonciation documentaire et d'identifier conjointement les énonciateurs signalés et dissimulés. Il en ressort la caractérisation de régimes énonciatifs spécifiques. Cette thèse conforte l'idée que la documentation véhicule un discours documentaire au point qu'il est possible de l'utiliser comme un moyen communicationnel et non plus comme un outil de transfert neutre du contenu informationnel de documents vers des usagers. Elle en détaille aussi plusieurs attributs qui attestent concrètement de sa faculté à pouvoir répondre aux enjeux info-communicationnels propres à la recherche en arts numériques et plus globalement à la recherche en art. / Art research is characterized by a polarized articulation between art practice and theory. This thesis proposes to transfer this symptomatic paradigm from this discipline to the pragmatic question of the modalities of its scientific communication. The form of the latter is debated by the actors of the French higher art schools, who defend freedom in the face of the predominant model of academic writing. The hypothesis of this thesis is that documentation becomes a plausible form of scientific communication adapted to art research. To deal with this object of study, digital arts research, which is most often interdisciplinary, cooperative and collective, has proved particularly relevant, since the plurality and fragmentation of its results make it possible to break out of the practical versus theoretical dichotomy. Indeed, the latter involving several participants are divided between artistic creations, technological developments and theoretical contributions. The observation of a shift from documentation to scientific communication is conditioned by the existence of documentary enunciation; since knowledge, regardless of the discursive practice used, is embodied in a discourse understood as the result of an enunciative act. Three exploratory case studies were conducted around three documentary devices established by actors in digital arts research in France and Quebec - the Cahier de Résidence de Kawenga, territories numériques, the Répertoire des œuvres hypermediatiques and other sections of the NT2 laboratory website, and the Archive Arc_Danse developed at the Hexagram-UQAM laboratory. The methodology used raises the documentary statement thought to be an extension of the editorial statement as an operational concept. It is divided into two stages. The first one studies the documentation as an information-communication device using, depending on the field, different tools and modes of involvement of the researcher. The second examines documentary objects using a semiotic approach in order to directly identify the index marks of the documentary utterance and to jointly identify the reported and concealed utterers. This results in the characterization of specific enunciative regimes. This thesis supports the idea that documentation conveys a documentary discourse to the point that it can be used as a means of communication and no longer as a tool for the neutral transfer of information content from documents to users. It also details several attributes that attest concretely to its ability to respond to the info-communication issues specific to digital arts research and more generally to art research.

No description available.

En art numérique, une pratique tend à se développer chez un nombre croissant de créateurs. Cette pratique correspond à la mise en relation d’une image numérique projetée, immatérielle, avec un support, matériel, généralement non standardisé, qui conserve par rapport à celle-ci une certaine indépendance ou autonomie. Il s’agit dans ces créations de partir d’une distinction, d’une opposition ou d’une distance entre un élément virtuel et un élément physique, qui, à partir de leur rapprochement, permet de faire émerger un sens que ce type de création devient prédisposé à porter. Devenant ainsi une façon particulière de traduire une relation au monde, cette articulation est un mode d’expression du sensible qui a sa singularité et qui dispose de spécificités.L’objectif de ce mémoire est de mettre en avant certaines pistes de réflexion pour la création, des méthodes de mise en œuvre, ainsi que des mécanismes de perception éventuels quand se joue cette rencontre de l’image, de l’objet, de la scène. Non seulement afin de comprendre la raison de l’expansion de cette pratique grandissante en ce début de 21e siècle, mais aussi d’orienter certains axes de travail envisageables pour des réalisations ou des analyses d’œuvres. / In digital arts, a practice is being developed by an increasing number of creators. This practice puts in relation an immaterial projected digital image, with a material medium, generally non standardized, that ensures a certain kind of independence or autonomy towards the image. In these creations, it’s about starting from a distinction, an opposition or a distance between a virtual element and a physical element, and by moving it closer, make emerging a sense that this type of creation is becoming susceptible to carry. Becoming a specific way to express a relationship to the word, this articulation is a way to express sensible world with its own singularity and specificities. The purpose of this thesis is to outline various approaches for creation, methods of implementation, and potential mechanisms of perception when this meeting between image, object and scene is on. Not only to understand the reason of the expansion of this growing practice in the early 21st century, but also to guide some possible working areas for productions or analysis of art works.

人的一生有大半時間都在睡眠中做著大夢，很少人沒做過夢，但我們曾經正視過它嗎？甚或是把作夢當作好吃懶做的推託藉口，或是把解夢視為江湖術士的無稽之談？其實，仔細探究我們可以發現，夢中的原始意象是不斷重複且世界共通的，端賴年代、文化、生活形式的差異才衍化出不同的面貌。從本作品立基的「集體潛意識」概念出發，我們甚至可以這樣想像──每個人做的夢裡頭都隱藏著人類物種的生存奧秘。 夢是很有趣的，但它絕不只有趣而已，如同許多夢的學者們說過，夢中的意涵值得我們去探索，作者便一向對於夢境當中是否藏有一群人共同的秘密十分感興趣。除了探索以外，最能讓處於現實（清醒）世界的我們和夢世界溝通的，莫過於透過藝術作品的幫助，可是人類歷史萬年以來，人們總是無法完全地重現夢境，就好像人類無法完全複製一個世界一般；然而這個情況在這近五十年已經有了重大的改變，數位科技的出現，使得藝術跨入新的領域，也開啟夢境再現的無限可能。 從作者的興趣出發，透過長期對於夢這個主題的探索，以及數位藝術時代的恭逢其盛，《群夢屋》這個作品就此誕生。 本作品是以數位平台及技術來體現夢境的特色，夢境內容取材自網路討論版（批踢踢實業坊Dreamland版）的長期且大量的紀錄與分析，在架構設計上則以巴舍拉《空間詩學》中對於空間、物件所帶有的時間封存和記憶感來做為主軸，並且落實其書中討論到，榮格的高低樓層結構相對於理性與神秘的比擬，來創造一間由Flash技術為主體的房子，人們得以在這間《群夢屋》自由穿梭，感受集體潛意識的意象，聆聽源於自己，也來自大眾心底的聲音。 《群夢屋》為一互動性敘事作品，綜合多媒體元素，遊歷其中就如同經歷一場夢境，而且這個夢不是任何一人的夢，是我們共同的夢。 《群夢屋》線上遊歷空間：http://www.cuemark.tw/dreamshouse/ / We are all dreamers. Believe it or not, so many secrets lied on your dreams. Some people discovered that the original images are always repeatedly showing up in dreams. Carl G. Jung named it “Archetype”. It’s a sort of representation from collective unconsciousness. The collective unconsciousness tells something about human beings. Dreams are so touching. We want to represent the complete content of dreams for thousands years. There is nothing suitable for the purpose till now, digital power can achieve anything and it does so to dream arts. The opportunity is there to let us having a try. As an author, I devoted to the “DreamS House” wholeheartedly. Because of the enthusiasm for dreams and the love for digital arts, I tried to collect the data on the BBS board and took the result of analysis into creation process. On the other hands, Gaston Bachelard’s “La poétique de l'epace” were also bringing inspiration to my work. The “DreamS House” is designed as a multiple floors building which has rational and irrational spirits inside. “Flash” technique was used to implement the house. Dreamers can walk through the doorways, hearing deep voices from selves and others. “DreamS House” is an interactive narrative with multimedia form. Once you are inside of it, you are not dreaming alone. Dreamers can just visit ”http://www.cuemark.tw/dreamshouse/”, and experience “DreamS House” in cyberspaces.