Il est désormais commun de reconnaître que le cinéma, aujourd’hui, s’émancipe de son dispositif médiatique traditionnel, adoptant maintes formes liées aux champs culturels qui l’accueillent : jeux vidéo, web, médias portatifs, etc. Toutefois, c’est peut-être le champ des arts visuels et médiatiques contemporains qui lui aura fait adopter, depuis la fin des années soixante, les formes les plus désincarnées, allant parfois jusqu’à le rendre méconnaissable. À cet effet, certaines œuvres sculpturales et installatives contemporaines uniquement composées de lumière et de vapeur semblent, par leurs moyens propres, bel et bien reprendre, tout en les mettant à l’épreuve, quelques caractéristiques du médium cinématographique. Basé sur ce constat, le présent mémoire vise à analyser, sur le plan esthétique, cette filiation potentielle entre le média-cinéma et ces œuvres au caractère immatériel. Pour ce faire, notre propos sera divisé en trois chapitres s’intéressant respectivement : 1) à l’éclatement médiatique du cinéma et à sa requalification vue par les théories intermédiales, 2) au processus d’évidement du cinéma – à la perte de ses images et de ses matériaux – dans les pratiques en arts visuels depuis une cinquantaine d’années, et 3) au corpus de l’artiste danois Olafur Eliasson, et plus spécialement à son œuvre Din Blinde Passager (2010), qui est intimement liée à notre problématique. Notre réflexion sera finalement, au long de ce parcours, principalement guidée par les approches esthétiques et philosophiques de Georges Didi-Huberman et de Jacques Rançière. / It is now common to acknowledge that cinema, today, is emancipated from its traditional media figure, adopting various forms related to the cultural fields that welcome it : video games, web, portable medias, etc. However, it is perhaps the visual and media contemporary arts that have morphed it, since the late sixties, into the most disembodied forms, even sometimes beyond recognition. To this end, some contemporary sculptures and installations only composed of light and steam seem, by their own means, to have adopted, and simultaneously put to the test, some characteristics of the cinematographic medium. Based on this observation, this paper aims to analyze, on an aesthetic level, this relationship between media-cinema and the nature of these immaterial artworks. To do so, our analysis will be divided into three chapters focusing respectively on : 1) the expansion of the cinema and its requalification as seen by intermedial theories, 2) the cinema’s loss of its images and materials in some visual art practices since the last fifty years, and 3) the artistic corpus of Danish artist Olafur Eliasson, and more precisely his work entitled Din Blinde Passenger (2010), which is intimately related to our subject matter. Finally, our reflection will mainly be guided by the aesthetic and philosophical approaches of Georges Didi-Huberman and Jacques Rancière.

L’activité économique et le nouveau marché électronique sont les notions qui motivent les économistes ainsi que les juristes à réorganiser le nouvel espace du commerce. Un marché électronique donne son caractère électronique à l’activité sur les réseaux, ce qui a motivé les États à adopter certaines règles pour régir ce marché. Cette utilisation de réseau mondial nous encourage à traiter la question de commerce électronique en droit, et plus précisément la question de contrat de vente électronique en droit international privé. La première partie de cette thèse traite d’un côté les questions de la particularité et les problématiques du commerce électronique en droit international privé. Ces problématiques prennent en compte la question du cyberespace en tant que nouveau marché virtuel: la territorialité, l’internationalité, l’immatérialité de cet espace. D’un autre côté, se trouve l’applicabilité des conventions internationales au contrat de vente électronique. La seconde partie de cette thèse analyse la technique et la stratégie d’adaptation des lois nationales afin d’être applicables au contrat électronique. Les deux exemples de cette analyse d’adaptation sont la loi française et la loi syrienne. / Economic activity and the new electronic marketplace are the concepts that motivate economists and lawyers to reorganize the new area of commerce. An electronic market provides its electronic character of the activity on the networks, which motivated the states to adopt certain rules governing this market. This use of global network encourages us to address the issue of electronic commerce law, and specifically the question of contract electronic sales in private international law. The first part of this thesis deals with one side of the particular issues and problems of electronic commerce in international private law. These issues take into account the issue of cyberspace as a new virtual marketplace: territoriality, internationality, the immateriality of this space. On the other hand, is the applicability of international conventions on electronic sales contrac. The second part of this thesis analyzes the technique and strategy of adapting national laws to be applicable to electronic contracts. Two examples of this analysis are adjusting to French law and the Syrian law.

Lines are everywhere and as humans we produce lines all the time. In this project I used the line as a method, a metaphor, and a material to explore what are the elements that influence and condition the way we move and behave around different spaces. Lines can be read as many things and for this project I choose to work with lines that could be understood as boundaries and limits. How do we deal with lines in our everyday life? How do lines and bodies influence each other? How is the space choreographed and experienced according to the boundaries that exist in it?   However not all boundaries are made of matter. In fact, some of them are invisible and manifest as prohibitions, regulations, prejudice, or just cultural norms. These limits can also be understood as non-matter lines that have an impact on one's experiences. Through several explorations, the project proposes an installation that seeks to embody the spatial boundaries that cannot always be seen. Using light and sound as catalyzers for these experiences, the installation is a reflection on what happens when we meet those invisible lines, how they have the power to change our usual path and to make us move differently around a space.

This thesis is written as an essay, which considers sculpture outside of its definition as art object. Having as its goal finding an intrinsic definition of sculpture, the essay sets on a short journey meandering between ideas, historic precedents, and anecdotes. Among some of the discussed thing are: necessity, labor, leisure, Olduvai chopping stone tool, making, human hand, brain, body, pineal gland, third eye, speculation, materiality, Dixie cup, objecthood, sign, imagination, ENIAC, immateriality, myth, labor, leisure, storytelling, alien, alienation, destruction, creativity, genius, death, weed. The essay concludes that sculpture does not need a definition.

This project explores vagueness in space and how it can help us train and sharpen our senses as designers and architects to adapt to the realities of scarcity and how to make less-extractive processes of creating space. Using ephemeral but recurring phenomena such as air flow, reflections, refractions of light and moist in architecture as inspiration, I seek to make everyday-spaces, such as underneath a wash basin, a radiator or behind a door, interesting again. With methods inspired by the land art movement to find new ways of seeing interior spaces, I use attentiveness and the idea to not destroy or disturb to observe already existing spaces. The project seeks to tell a story of neglected beauty in forgotten spaces and translating them into (im)material architectural spatial installations.  I hope this project can bring an understanding that protecting and appreciating what we already have is probably more sustainable than constantly changing and readjusting spaces to fit our wants and what we think we need. To train our senses and get new ideas of beauty and function in already existing interior spaces, brings what is out of focus into the light. This might be a way to partly slow down the industry of interiors and redirect how we work as architects and designers to understand that everything doesn’t need to change, but if we seek change, we can do it by immaterial phenomena, such as light through the interstices, that will occur as long as there is life.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée d'un document visuel. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / L'action interactive avec le numérique est quotidienne. Toutefois, peu de réflexions sur le sujet mettent en avant l'importance de la trace dans cette relation qui nous lie à la machine. Une expérience interactive engendre souvent une trace et c'est à partir de cet élément capital que nous réfléchissons, dans ce mémoire, sur la relation entretenue avec notre environnement numérique interactif. La trace est alors comprise comme une nouvelle approche épistémologique des arts numériques interactifs. Penser le numérique comme immatériel suppose une quasi-inexistence de la trace présente au sein d'une oeuvre numérique, impliquant une mystification. Tout au long de cette recherche, notre objectif est donc de redonner une matérialité à la trace, afin qu'elle puisse s'intégrer dans notre paysage que l'on dit matériel. C'est l’oeuvre Pulse Room (2006) de Rafael Lozano-Hemmer qui va nous permettre de constater les ambivalences et les convergences qui existent dans l'approche d'une société informatisée face à la machine numérique, et de saisir la manière dont nous évaluons la trace qui est laissée dernière chacune de nos prestations numériques. C'est uniquement au moment où la trace numérique intégrera une certaine matérialité que nous serons capables de nous considérer en tant qu'objet de réflexion, de distinguer la manière dont nous nous comportons face à cet environnement et d'apprendre à être critiques. / The interactive action with the digital is daily. However, few thoughts on the subject highlight the importance of the trace in this relationship which links us to the machine. Often, an interactive experience generates a trace and it is from this important element that we are thinking, in this master’s thesis, on the relationship with our interactive digital environment. The trace is then understood as a new epistemological approach to interactive digital arts. To think the digital as immaterial generates an almost non-existent of the trace within a digital work, involving a mystification. Throughout this research, our goal is to give back materiality to this trace, so that it can fit into our landscape called material. The work Pulse Room (2006) by Rafael Lozano-Hemmer will enable us to reflect on the ambivalences and convergences that exists in the approach of a computerized society in front of the digital machine, and understand how we evaluate the trace that is left behind each of our digital performances. It's only when the digital trace will incorporate a certain materiality, that we will be able to see ourselves as an object of reflection, to discern how we behave facing this environment and learn to be critical.