1 Marshall McLuhan, La galaxie Gutenberg. La genèse de l’homme typographique, trad. de Jean Paré, Montréal, HMH, 1968 [1967], p. 68.
2 [Notre traduction] « self-alteration », John Cage et Joan Retallack, Musicage. Cage Muses on Words, Art, Music, Hanover, Wesleyan University Press/University Press of New England, 1996, p. 139.
3 [Notre traduction] « self-expression », ibid.
4 Richard Kostelanetz, Conversations avec John Cage, trad. de Marc Dachy, Paris, Éditions des Syrtes, 2000, p. 293.
5 L’exemple le plus célèbre et percutant de cela est peut-être l’œuvre 4’ 33’’ de Cage, 1952.
6 La sensation et l’impression d’être saisi l’un par l’autre, d’être possédé ou en possession l’un de l’autre.
7 Gilles Deleuze, Francis Bacon. Logique de la sensation, coll. « La vue, le texte », Paris, Éditions de la Différence, 1981, p. 46.
8 Incluant les logiciels et les sites Internet destinés à l’utilisation et la consommation de masse.
9 Paul Virilio, La vitesse de libération. Essai, Paris, Galilée, 1995, p. 95.
10 Ancienne vice-présidente de Microsoft.
11 Ou la culture du « toujours branché ».
12 Paul Virilio, L’inertie polaire, Paris, Christian Bourgois Éditeur, 1994, p. 65.
13 Ibid.
14 Pour une description plus élaborée, voir Mark Bokowiec et Julie Wilson-Bokowiec, « Kinaesonics: The Intertwining Relationship of Body and Sound », Contemporary Music Review. Special Issue: Bodily Instruments and Instrumental Bodies, Londres, Routledge, Taylor & Francis Group, vol. 25, nos 1-2, août 2006, p. 47-57.
15 American Psychiatric Association, DSM-IV. Manuel diagnostique et statistique des troubles mentaux, 4e édition, trad. de l’anglais de J.-D. Guelfi et al., Paris, Masson, 1996, p. 892
16 [Notre traduction] « our own body’s potential to move between the objects (seen) or to touch them in succession […] we are using our eyes as proprioceptors and feelers », Brian Massumi, « Sensing the Virtual, Building the Insensible », in Stephen Perrella (dir.), Hypersurface Architecture, vol. 68, nos 5-6, mai-juin 1998, p. 21.
17 Mark Bromwich et Julie Wilson-Bokowiec, « Lifting Bodies: Interactive Dance. Finding New Methodologies in the Motifs Prompted by New Technology. A Critique and Progress Report with Particular Reference to the Bodycoder System », Organised Sound, Cambridge, Cambridge University Press, vol. 5, no 1, 2000, p. 9-16.
18 Mark Bokowiec et Julie Wilson-Bokowiec, « Spiral Fiction », Organised Sound. Special Issue: Interactive Performance, en collaboration avec l’International Computer Music Association, Cambridge, Cambridge University Press, vol. 8, no 3, 2003, p. 279-287.
19 [Notre traduction] « If the auditory syllable is a /ba/ and if the subjects see a video tape of a speaker producing a /ga/, they report having heard a /da/. This /da/ syllable is an intermediate syllable, the place of articulation of which is between those of /ba/ and /ga/. This clearly shows that visual and auditory information can be integrated by subjects, the response being a compromise between normal responses to two opposing stimuli », Sophie Donnadieu, « Mental Representation of the Timbre of Complex Sounds », in James Beauchamp (dir.), Analysis, Synthesis, and Perception of Musical Sound. The Sound of Music. New York, Springer, 2007, p. 305.
20 Bigna Lenggenhager et al., « Video Ergo Sum: Manipulating Bodily Self-Consciousness », SCIENCE, vol. 317, no 5841, 24 août 2007, p. 1096-1099.
21 [Notre traduction] « during multisensory conflict, participants felt as if a virtual body seen in front of them was their own body and mislocalized themselves toward the virtual body, to a position outside their bodily borders », ibid., p. 1096.
22 [Notre traduction] « humans systematically experience a virtual body as if it were their own when visually presented in their anterior extra-personal space and stroked synchronously », ibid., p. 1098.
23 [Notre traduction] « We used functional magnetic resonance imaging (fMRI) to investigate the brain mechanisms of the feeling of ownership of seen body parts. We manipulated ownership by making use of a perceptual illusion: the rubber hand illusion. During the experiment, the subject’s real hand is hidden out of view (under a table) while a realistic life-sized rubber hand is placed in front of the subject. The experimenter uses two small paintbrushes to stroke the rubber hand and the subject’s hidden hand sychronizing the timing of the brushing as closely as possible. After a short period, the majority of subjects have the experience that the rubber hand is their own hand and that the rubber hand senses the touch », Henrik Ehrsson, Richard E. Passingham et Charles Spence, « That’s My Hand! Activity in Premotor Cortex Reflects Feeling of Ownership of a Limb », SCIENCE, vol. 305, no 5685, 6 août 2004, p. 875.
24 Maurice Merleau-Ponty, Le visible et l’invisible, coll. « Tel », Paris, Gallimard, 1979 [1964], p. 203.
25 Paul Virilio, L’inertie polaire, op. cit., p. 65.
26 [Notre traduction] « synesthetic forms are dynamic. They are not mirrored in thought ; they are literal perceptions », Brian Massumi, Parables for the Virtual. Movement, Affects, Sensations, Durham et Londres, Duke University Press, 2002, p. 186.
27 [Notre traduction] « may be the medium of consciousness »,Marshall McLuhan et Frank Zingrone (dir.), Essential McLuhan, Londres, Routledge, 1995, p. 296.