GLITCH(s) IMAGO-SONORE(s) Du processus d'objectivation par découpe et synchronisation son-image à une esthétique du micro-mouvement

摘要

It is as an artist and practitioner of digital technologies that we approach this research. It is through the use of computer processing tools and certain principles associated with it (interactive and generative), but also an artistic necessity that goes beyond technology alone gives, that the issues raised are approximate. Two assumptions will be made by this work. The first is based on recognition of the emergence in the field of contemporary art, new forms of formal relationship between sound and image carried by a dynamig melting, both sensory and structural. Starting from the idea of a gradual passing of research in the field of musical arts and visual arts throughout the twentieth century, we assume the possibility of extracting an analytical tool that can be used for description of artistic objects, personal or otherwise, that lie on the border of the two areas. We propose the term imago-sound object. By providing a shared language, the digital code, the computer will play a crucial role in the implementation of this process of synthesizing and fusion. A second hypothesis suggests that the movement of objectification, isolation, see parallel sequencing of sound and image, also reflects contemporary practices based on "short time". In its principles of synchronization and simultaneity, the imago-sound object involved in this reduction in the length audio and visual stage a inframince events, or micro-event (we then speak of imago-sound glitch). In the particular field of the representation of bodies in motion, this contributes to an aesthetic of micro-motion.