De la perception à la représentation : vers une épistémologie de l’œuvre interdiscursive Pour une analyse de l’œuvre vidéomusicale

Abstract : As an emerging art practice, videomusic appears as a work that is fixed upon an electronic support, "combining music and moving image in a unified sensory expression" (Piché). On the one hand the terms "music" and "image" are used here to refer to electroacoustic or experimental music, and to the visual arts (animation, photography), on the other hand. Putting into question the hybridity of this alloy, we propose that there is dialogical relationship to the work (Bakhtine) based on the audio-spectator awareness of time (Husserl), and will show from examples that demonstrate the Videomusic as a "theater of a relational activity that is perpetuated in [her]" (Simondon). The audio-spectator then forms a system with the work, it informs and it becomes a discourse, in a transducing movement (Simondon). Within the discursive videomusic work, notion of identity will no longer apply to the two media but to this rhetorical relationship (Ricœur). Relying on the experience acquired with the Unités Sémiotiques Temporelles (UST), musical analysis tools created by the MIM laboratory, implementing observation, experimentation and refutation, we will then endeavor to develop a method to name, represent and finally analyze this special arrangement of the work.
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Jean-Pierre Moreau. De la perception à la représentation : vers une épistémologie de l’œuvre interdiscursive Pour une analyse de l’œuvre vidéomusicale. Musique, musicologie et arts de la scène. Langues, Lettres et Arts (ED 354), 2018. Français. ⟨tel-01993412⟩

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