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L'expérience au corps, du Nouveau Roman à la Réalité Virtuelle

January 2018
Interfaces numériques 7(2)

Authors:

University of Geneva

La possibilité d'incarner un personnage serait-elle l'apanage de la réalité virtuelle ou l'héritage d'expérimentations pré-électroniques ? La réponse tient peut-être à Michel Butor, théoricien et romancier, qui a enfermé en 1957 en un roman de multiples procédés littéraires qui éclairent des problématiques soulevées aujourd'hui par la réalité virtuelle. Aborder ce questionnement passe tout d'abord par une approche phénoménologique pour proposer une typologie d'expériences, basée sur la spatialité et la corporéité. Cette typologie est ensuite confrontée à la stratégie narrative jadis déployée tout au long du roman La Modification. En alliant sciences de la communication, narratologie et études littéraires, cette recherche met en lumière autant de procédés pour concevoir des expériences « faire-corps » avec un système de réalité virtuelle que de manières de le subvertir. –––English––– Is the embodiment of a character the prerogative of virtual reality or the legacy of pre-electronic experimentation? The answer may come from Michel Butor, theorist and novelist, who has enclosed in 1957 in a novel multiple literary processes that illuminate today issues related to virtual reality. Our research first adopts a phenomenological approach to propose a typology of experiences about spatiality and corporeality. This typology is then confronted with the narrative strategy deployed in the novel La Modification. By combining communication sciences, narratology and literary studies, this research highlights as many processes for designing embodiment experiences with a virtual reality system as much as ways to subvert it.

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à+la+Réalité+Virtuelle+

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Rue#Jean-Baptiste#Richard,#73000#Jacob-Bellecombette,#France#

sebastien.allain@univ-smb.fr#

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OMNSH,#Paris,#France#

Scientific#Brain#Training,#SBT#-#Human(s)#matter#

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<+RESUME+>+

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<+ABSTRACT+>+

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1. Introduction+

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2. L'expérience+de+réalité+virtuelle+

2.1. De&l'importance&du&corps&

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4. Transpositions+

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+#%! ,.*%! %#! (=P,%0!O+A>%3GJ! 3_.>-%! /+_+#%!%D<-&.%#)%! 3.$$-&(.&%! <+.**%!

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4.3. Exposition+et+repêchage+

;%*!(+$%+&*!>%!1[!2#$!G!(>,%$$&%!/+%!>%*!+$.3.*($%+&*!#%!&%#$&%#$!<(*!

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'2&,%! >%! &%$%#+%! frgq<2+&s! >2##%&! 3%! $%,<*! %$! 3%*! ,2P%#*! >%! *%!

<&2N%$%&!>(#*!+#!#2+B%3!%*<()%J!%$!>2#)!>(#*!+#!#2+B%(+!)2&<*!U0!]2+&!

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3%*! <C&(*%*! >_%D<2*.$.2#! 2a! 3%! 3%)$%+&! '(.$! )2##(.**(#)%! (B%)! 3%!)2&<*!

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!;_%D<-&.%#)%!(+!)2&<*!V!7:!W!

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Votre# cigarette# vous# brûle# les# doigts#;# elle# s’est# consumée# seule#

(Butor,#1957)#

e_(+$&%*! >%*)&.<$.2#*! C(=.33%#$! %#*+.$%! 3%! 3%)$%+&! <(&! $&(#)C%*!

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<&2<&%*!(B(#$A=&(*!fcf.#X:g!k!

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manche#blanche,#bleue#et#grise,#de#votre#chemise,#de#votre#veston,#de#

votre#manteau,#votre#montre#rectangulaire#fI+$2&J!:KLMg#

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Votre# carte# d'identité# assez# sale,# avec# une# vieille# photographie# où#

vous#êtes#méconnaissable#(Butor,#1957)#

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expérience,#vous#avez#tant#de#mal#à#vous#reconnaître#(Butor,#1957)#

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).#-$2*%J! /+?%33%! *2.$!3.-%!G! +#! B2P(@%! 2+! G! 3(! 1[J! ('.#! >%!&%#$&%&! %#!

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Cette# sorte# de# vertige# intérieur# qui# subsiste,# qui# vous# reprend,#

malgré# ce# malaise,# ce# dépaysement# qui# vient# du# voyage# et# auquel#

vous#n’auriez#pas#pensé#être#toujours#aussi#sensible#

Ce#n’était# qu’un#malaise# passager#;#n’êtes-vous# pas#de# nouveau# sûr#

et#fort#(Butor,#1957)#

4.4. Consignes&et&suggestions&

^%+3%*!3%*!j+B&%*! )2#*$&+.$%*!<(&!3%*!3%)$%+&*!3%+&! <%&,%$$%#$!>%!*%!

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>%*! &-(3.$-*! B.&$+%33%*! =(*-%*! *+&! >%*! >%*)&.<$.2#*! $%D$+%33%*! fHze*gJ!

)_%*$AGA>.&%!=(*-%*!*+&!3%!&-).$0!v!3?2<<2*-%J!3(!1[!/+%!#2+*!)2##(.**2#*!

(+N2+&>?C+.! >%,(#>%!+#! (<<(&%.33(@%! /+.! )2#>.$.2##%! 3%! ,2>%!

>_%D.*$%#)%!>+! )2&<*!%$! *%*! >-<3()%,%#$*0! ;%! &%)2+&*! (+!&-).$!<%&,%$!

(32&*!>%!'(.&%!())%<$%&!3%*!)2#$&(.#$%*J!<2+&!&%#$&%&!>(#*!3?%D<-&.%#)%!via#

>%*!)2#*.@#%*! 2+! +#!<(*AGA<(*! <2+&! *%! '(,.3.(&.*%&! (B%)!3_+#.B%&*!

f)'0!Oculus#First#Contactg0! R$! )_%*$! 3G! %#)2&%! +#%!>%*! <(&$.)+3(&.$-*! >+!

T!B2+*!U! %#! 3.$$-&($+&%! /+%! >%! )2#*$&+.&%! >%*! .#$%&<%33($.2#*!/+.!

*_(<<(&%#$%#$! *%32#! 3%*! )(*! G! +#! T!,(#+%3! >_+$.3.*($.2#! 2+! +#! @+.>%!

>_(+$2(**.*$(#)%!U!fI%33J!R#**3.#J!79::J!<0!`:bg0!

Pour# l’instant,# retirez# votre# manteau,# pliez-le,# hissez-le# sur# votre#

valise.#De#la#main#droite,#vous#vous#agrippez#à#la#tringle#;#vous#êtes#

obligé#de#vous#pencher#sur#le#côté,#posture#d’autant#plus#incommode#

qu’il#vous#la#faut#conserver#malgré#les#oscillations#perpétuelles#

Vous#ne#vous#êtes#pas#assez#mis#dans#la#peau#du#personnage#(Butor,#

1957)#

!;_%D<-&.%#)%!(+!)2&<*!V!7`!W!

]3+*!(>2+).%*J! 3%*! )2#*.@#%*! <%+B%#$!*%! $&(#*'2&,%&!%#! *+@@%*$.2#*!

<%&,%$$(#$! G! I+$2&! >%! #%! &.%#! .,<2*%&J! (+$2&.*(#$! )C%o! 3%! 3%)$%+&! 3(!

*+*<%#*.2#!>%!3_.#)&->+3.$-!%$!3(.**(#$!3.=&%!)2+&*!G!*2#!.,(@.#(.&%0!O.#*.!

3(!<&2>+)$.2#!>%!3?%*<()%!%$!3?.#)(&#($.2#!#%!&%<2*%#$!<(*!*%+3%,%#$!*+&!

3%! ,->.+,J! ,(.*! (+**.! *+&! 3%! &-).$! /+%! *%! )2#*$&+.$! 3%! T!3%)$%+&!U! <2+&!

'(.&%!T!)2,,%!*.!U0!

Imaginez#que#vous#êtes#monsieur#Léon#Delmont#et#que#vous#écrivez#

à#votre# maîtresse# Cécile#Darcella# pour# lui#annoncer# que# vous#avez#

trouvé#pour#elle#une#situation#à#Paris#

Imaginez# que# vous# voulez# vous# séparer# de# votre# femme#;# vous# lui#

écrivez#pour#lui#expliquer#la#situation#(Butor,#1957)#

4.5. Questionnement&

^.! 3_%D<-&.%#)%! %#! 1[! &-)3(,%!=.%#! *2+B%#$! G! 3_+$.3.*($%+&! +#%!

,P&.(>%! >_()$.2#*! <3+*! 2+! ,2.#*! &-'3%D%*J! %33%! 2''&%!(+**.! >%*! )C2.D!

&(.*2##-*!>(#*!>%*!N%+D!>_(B%#$+&%J!B2.&%!>%!<&2'2#>*!/+%*$.2##%,%#$*!

>(#*!3%*! >2)+,%#$(.&%*0!e%&#.S&%! $&(#*<2*.$.2#! G! -B2/+%&J! 3?+$.3.*($.2#!

)C%o!I+$2&!>+!/+%*$.2##%,%#$J!3%/+%3!&%BF$!<3+*.%+&*!'.#(3.$-*0!

I.@3(&.!f79:9g!&%3SB%! $2+$! >?(=2&>! /+%! 3%*! .#$%&<%33($.2#*! >(#*!

La#Modification!)&-%#$!>%*!*.$+($.2#*!B.B(#$%*! /+.! (,S#%#$!3%! 3%)$%+&!G!

&-'3-)C.&J!3%!T!B2+*!U!>%B%#(#$!>%!<3+*!%#!<3+*!#($+&%3!%$!.#'3+%#$!k!

Qui#êtes-vous#?#Où#allez-vous#?#Que#cherchez-vous#?#Qui#aimez-vous#?#

Que# voulez-vous#?# Qu’attendez-vous#?# Que# sentez-vous#?# (Butor,#

1957)#

v!3(!,(#.S&%!>?+#!,2#232@+%!.#$-&.%+&J!3%!/+%*$.2##%,%#$!%*$!$2+&#-!

B%&*! 3%! <%&*2##(@%!<&.#).<(3J! 2+! <2&$%!*+&! 3%*!(+$&%*! <(**(@%&*0! "3!

,(#.'%*$%!+#! '2#)$.2##%,%#$! %#! /+F$%! >%! &-<2#*%*! %$! +#%! &%)C%&)C%!

>?.#$%&<&-$($.2#!>+!,2#>%!/+.!*?(<<3./+%!(.#*.!(+!3%)$%+&0!

V!7i!W! "#$%&'()%*!#+,-&./+%*0!1230!4!5!#64879:4!

Et# ce# Zacharie,# cette# Sibylle,# que# viennent-ils# faire# en# ce# train#?#

Comment#s’est#passée#leur#vie#?#Où#vont-ils#?#

Vous#ne#pouvez#pas#voir#le#petit#garçon#à# côté#d’elle#qui#n’est#peut-

être#pas# son# neveu#;#elle#n’est# peut-être#pas# veuve,# elle#ne# s’appelle#

pas# Madame# Polliat,# et# il# y# a# bien# peu# de# chances# pour# que# son#

prénom#soit#André#(Butor,#1957)#

](&!3%!/+%*$.2##%,%#$!3?(+$%+&!@3.**%!G!#2+B%(+!>%*!.#'2&,($.2#*!%#!

>2##(#$!3?.,<&%**.2#!/+?%33%*!#%!*2#$!<(*!>2##-%*J!,(.*!)2#*$&+.$%*!G!3(!

3%)$+&%0!;?(+$%+&!>-*(,2&)%!(.#*.!3(!'.)$.2#!/+?.3!.,<2*%!%#!(N2+$(#$!+#%!

)2+)C%! >%! &-'3%D.B.$-!fO33(.#J! "=(#%oAI+%#2J! 79:Mg0! Q%! <&2)->-! <%+$!

(**+&-,%#$! F$&%! $&(#*<2*-! 3+.! (+**.! >(#*! 3(! 1[J! <2+&! )&-%&! >%!

3_.#$%&()$.2#J!<2+&!.#*$(+&%&! +#!>2+$%J!2+! <2+&!>-*$(=.3.*%&! 3(!'.)$.2#!%$!

3_2+B&.&!*+&!3%!&-%30!

5. Conclusion+

H.)C%3!I+$2&!)2#'.(.$!>(#*!*2#!(=-)->(.&%!3%!*2+).!>%*!&-<%&)+**.2#*!

G!32#@!$%&,%!>%!*2#!$&(B(.3!*+&!3%*!*P*$S,%*!>%!&%<&-*%#$($.2#!)233%)$.'*J!

*+&! 3%*! T!j+B&%*! &%#>+%*! <2**.=3%*! <(&! >%! <&%,.S&%*! j+B&%*!U! f799M!

Qe7J!<.*$%Lg0!;(!1[!*%&(.$A%33%!+#%!j+B&%!.#*<.&-%!>+!\2+B%(+![2,(#!E!

v!3?-)C%33%!>%!)%$!(&$.)3%J!/+%3/+%*!3.%#*!2#$!%#!$2+*!)(*!<+!F$&%!<2*-*!%$!

>%*! $&(#*<2*.$.2#*! >%! <&2)->-*!3.$$-&(.&%*! 2#$! -$-! ,.*%*!(+! N2+&0! "3! %#!

&%**2&$!+#%!($$%#$.2#!<(&$.)+3.S&%!(+D! $%,<2&(3.$-*!/+.! *?%#$&%,F3%#$J!G!

3?%*<()%! >(#*! 3%/+%3! %*$! )2#B2/+-%! 3?%D<-&.%#)%J! (.#*.!/+?(+D!

<C-#2,S#%*!<&2>+.$*!(+<&S*! >%! 3?+$.3.*($%+&0! ](&(>2D(3%,%#$J!

3?.,,%&*.2#! %#! >%! B(*$%*! %*<()%*! %$! 3_.#)(&#($.2#! >?+#!)2&<*! '.@+&-!

$.%##%#$!(+!'(.$!/+%!3?%*<()%!%$!3%!)2&<*!&-%3*!*2#$!$2+N2+&*!)2#*.>-&-*!(+!

*%.#!>%!3?%D<-&.%#)%0! ]2+&!%#! $%#.&!)2,<$%J!3%! &-).$!%$! *(!,.*%! %#!*)S#%!

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(=P,%J! <(33.(#$! (+D! 3.,.$%*! <CP*./+%*! 2+! $%)C#232@./+%*J! 2+! N+*$.'.(#$!

%#)2&%!3%*!>.''.)+3$-*!G!.#B%*$.&!+#!)2&<*0!!

!;_%D<-&.%#)%!(+!)2&<*!V!7L!W!

^.!3(! >-,2#*$&($.2#!(! *+!)2#B(.#)&%! #2$&%!3%)$%+&J! .3!#2+*! '(+$!(32&*!

'(.&%!+#!<(*!%#!(&&.S&%!%$!&%<&%#>&%!>%!3(!>.*$(#)%0!R#!%''%$J!(32&*!/+%!3%*!

%D<-&.%#)%*! *2#$! >-*2&,(.*! <3+*! ())%**.=3%*!(+! @&(#>! <+=3.)J! 3%+&!

<&2<2*.$.2#!*%,=3%!F$&%!$&2<! *2+B%#$! )%33%!>%! T!'(.&%A)2&<*!UJ! )2,,%!

+#%! $%#>(#)%! T!#($+&%33%!U! 3.-%! G! 3(! N%+#%**%! >+!,->.+,0! H(.*! .3! '(+$!

(32&*! *%! &(<<%3%&! /+%! 3%! \2+B%(+! [2,(#! %$! 3%*!<&2)->-*!>%! I+$2&!

(33(.%#$!G!3?%#)2#$&%!>+!*P*$S,%!>%!&%<&-*%#$($.2#!>%!3?-<2/+%0!e%!'(.$J!*.!

%#!<&%,.S&%!3%)$+&%!3%*!$&(#*<2*.$.2#*!<&-*%#$-%*!*%&B.&(.%#$!G!@-&%&!3%*!

>.*)2&>(#)%*! %#$&%! )2&<*! '.@+&-! %$! )2&<*! &-%3J! +#%! *%)2#>%! 3%)$+&%!

.#B.$%&(! G! 3%*! +$.3.*%&!)2#$&%! 3%! T!*P*$S,%!UJ! <2+&!<%#*%&! (+$&%,%#$! 3%!

,->.+,0! e(#*! 3%*! (##-%*! :KL9J! )?%*$! <(&! *%*! (+$%+&*!/+%! 3%! &2,(#! (!

-B23+-!<2+&!2''&.&!>%!#2+B%33%*!%D<-&.%#)%*J! #2$(,,%#$!<2+&! 2+B&.&!3(!

'.)$.2#! *+&! 3%! &-%30!;(! &-(3.$-! B.&$+%33%!*(+&(A$A%33%! $&2+B%&! 3?%*<()%!

,->.($./+%!<2+&!3%!'(.&%!E!e%*!(+$%+&*!*%&2#$A.3*!.#)(&#%&!3(!&%3SB%!E!

Remerciements#

L’auteur#tient#à#remercier#Christophe#et#Valérie#sans#qui#ces#expériences#

n’auraient#pas#été#possibles,#ainsi#que#l’équipe#Hypermédia#G-SICA#pour#

les#séminaires#vécus#à#distance,#notamment#sur#la#thématique#«#Réalités#

impossibles#».#

6. Bibliographie+

O33(.#!^-=(*$.%#!%$!"=(#%oAI+%#2!w()/+%*!f79:Mg0!y&2,!e2)+,%#$(&P!

y.3,,(m.#@!$2!^%&.2+*!|(,%k!"#$%&()$.2#*!H2>%3!$2!I&.#@!$C%![%(3!$2!

;%(&#%&*0!French#Journal#for#Media#Research0!1230!40!

C$$<k88'&%#)CN2+&#(3'2&,%>.(&%*%(&)C0)2,832>%38.#>%D0<C<E.>}:`b`†$2)$

2:#L!

O33(.#!^-=(*$.%#!f79:`g0!;(!,.*%!%#!(=P,%!()$-%J!#2+B%(+!'%&!>%!3(#)%!>+!

*%&.2+*!@(,%0!Revue#d’Interaction#Homme-Machine0!1230!:iJ!#6!:0!

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ResearchGate has not been able to resolve any citations for this publication.

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Parmi les transgressions narratives, la métalepse s’est déployée sur tous les médias, jusqu’à occuper une place prépondérante dans les récits vidéoludiques. Désormais, son omniprésence interroge la possibilité qu’elle produise encore un quelconque sentiment de transgression. Serait-elle à reléguer dans les usages conventionnels du jeu vidéo ? Cette contribution s’appuiera sur plusieurs disciplines (études littéraires, cinématographiques, narratologiques, ludologiques, communicationnelles et didactiques) pour mettre de côté les métalepses purement fonctionnelles du jeu vidéo et s’attacher à différentes formes articulant ludique et narratif. Après avoir présenté le concept de métalepse dans une première partie, la seconde partie s’intéressera à une transgression dite du « 4e mur ». Expression fréquemment utilisée, il s’avèrera qu’elle est non seulement héritée des médias antérieurs – et donc peu spécifique au jeu vidéo –, mais surtout qu’elle masque une diversité de procédés. Sur la base d’un corpus d’une vingtaine de jeux, la dernière partie valorisera des métalepses trop peu mises en lumière, si ce n’est impensées. En dépit de leur faible popularité actuelle, celles-ci pourraient bien renouveler le sentiment de transgression d’antan, tout en participant à la modernité du média jeu vidéo.

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N.B. This is a draft version of an extended abstract to accompany a poster invited for presentation at IEEE VR 2017 in Los Angeles, California. This preliminary study surveys whether/which avatar body parts are visible in first-wave consumer virtual reality (VR) applications for the HTC Vive (n = 200). A simple coding schema for assessing avatar bodily coherence (ABC) is piloted and evaluated. Results provide a snapshot of ABC in popular high-end VR applications in Q3 2016. It is reported (Table 1) that 86.5% of sampled items feature fully invisible avatars, 9% depict hands only, and 4.5% feature a head, torso, or legs, but still with some degree of bodily incoherence. Findings suggest that users may experience a sense of ownership and/or agency over their virtual actions even in the absence of visible avatar body parts. This informs research questions and hypotheses for future experimental enquiry into how bodily representation may interplay with user cognition, perceived virtual embodiment (body ownership illusion and sense of agency), and spatial telepresence.

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