L’homme obscur et l’esprit du jeu vidéo
Béla Balázs is one of the first philosophers of the cinema. He bases his praise on an aesthetic characteristic of the cinematic image, made possible by the technique of the projection of moving images : we discover immense faces revealing the life of the spirit in their expressive movement. On the s...
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| Format: | Article |
| Language: | fra |
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MSH Paris Nord
2023-11-01
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| Series: | Appareil |
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| Online Access: | https://journals.openedition.org/appareil/7053 |
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| _version_ | 1841547799239327744 |
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| author | Michaël Crevoisier |
| author_facet | Michaël Crevoisier |
| author_sort | Michaël Crevoisier |
| collection | DOAJ |
| description | Béla Balázs is one of the first philosophers of the cinema. He bases his praise on an aesthetic characteristic of the cinematic image, made possible by the technique of the projection of moving images : we discover immense faces revealing the life of the spirit in their expressive movement. On the screen, the human sipirit appears in a clearness that we thought impossible : a new visibility of man. What is the situation today with this new type of images offered by video games ? If video games are this aesthetic practice corresponding to the digital epoch of the evolution of technics, can we expect as much from them for philosophical reflection as cinema did in the twentieth century ? Our hypothesis aims to think video games as a non-utilitarian man-machine relation whose aesthetic purpose implies the perception of this relation. From the Simondonian analysis of this type of relation, we will try to defend the idea that in certain video games, the “minor” use of the technical object (i.e. automated) that the manipulation of the image requires, implies a type of interaction in which the operational schemas of the human spirit and those of the machine appear indiscernible. The description of such interactions in game sequences shows us that this felt indiscernibility aesthetically reveals a darkness of man not in opposition but within his visibility. Thus we argue that the aesthetic contribution of video games consists in giving us to perceive the human reality as not isolable in the interiority of a soul, but relational, i.e. manifesting itself in the darkness of the man-machine relation. |
| format | Article |
| id | doaj-art-0abe7ff838294e62a67fa9e02b34dc58 |
| institution | Kabale University |
| issn | 2101-0714 |
| language | fra |
| publishDate | 2023-11-01 |
| publisher | MSH Paris Nord |
| record_format | Article |
| series | Appareil |
| spelling | doaj-art-0abe7ff838294e62a67fa9e02b34dc582025-01-10T14:18:48ZfraMSH Paris NordAppareil2101-07142023-11-012610.4000/appareil.7053L’homme obscur et l’esprit du jeu vidéoMichaël CrevoisierBéla Balázs is one of the first philosophers of the cinema. He bases his praise on an aesthetic characteristic of the cinematic image, made possible by the technique of the projection of moving images : we discover immense faces revealing the life of the spirit in their expressive movement. On the screen, the human sipirit appears in a clearness that we thought impossible : a new visibility of man. What is the situation today with this new type of images offered by video games ? If video games are this aesthetic practice corresponding to the digital epoch of the evolution of technics, can we expect as much from them for philosophical reflection as cinema did in the twentieth century ? Our hypothesis aims to think video games as a non-utilitarian man-machine relation whose aesthetic purpose implies the perception of this relation. From the Simondonian analysis of this type of relation, we will try to defend the idea that in certain video games, the “minor” use of the technical object (i.e. automated) that the manipulation of the image requires, implies a type of interaction in which the operational schemas of the human spirit and those of the machine appear indiscernible. The description of such interactions in game sequences shows us that this felt indiscernibility aesthetically reveals a darkness of man not in opposition but within his visibility. Thus we argue that the aesthetic contribution of video games consists in giving us to perceive the human reality as not isolable in the interiority of a soul, but relational, i.e. manifesting itself in the darkness of the man-machine relation.https://journals.openedition.org/appareil/7053cinemaAestheticsvideo gamespiritzone of indiscernibilityobscure |
| spellingShingle | Michaël Crevoisier L’homme obscur et l’esprit du jeu vidéo Appareil cinema Aesthetics video game spirit zone of indiscernibility obscure |
| title | L’homme obscur et l’esprit du jeu vidéo |
| title_full | L’homme obscur et l’esprit du jeu vidéo |
| title_fullStr | L’homme obscur et l’esprit du jeu vidéo |
| title_full_unstemmed | L’homme obscur et l’esprit du jeu vidéo |
| title_short | L’homme obscur et l’esprit du jeu vidéo |
| title_sort | l homme obscur et l esprit du jeu video |
| topic | cinema Aesthetics video game spirit zone of indiscernibility obscure |
| url | https://journals.openedition.org/appareil/7053 |
| work_keys_str_mv | AT michaelcrevoisier lhommeobscuretlespritdujeuvideo |