Le geste et sa niche : gestion du sens « hors technique »

From the orchestra pit, hidden in the theatre, to Charles Ives’ The unanswered question, that sets string instruments behind the scenes, modern music explores the possibility of hiding the sound instantiation increasingly. That paradoxically promoted a gestural imagination. As Xenakis pointed, electronic music, even if acousmatic, seems to imply some productive actions. In addition, sudden and disturbing gestures that are signified by electronic music can sometimes conflict with the virtuosity of performers. Finally, electronic music show that gesture is both a primitive state of enunciation and the dramatic tension to which gesture continues to aspire. Generally, there is today a paradoxical evolution concerning “instrumental” practice: on the one hand, we can see a detechnologization of gestures of users against a overtechnologization of media and devices; on the other hand, we are seeking to remove residual body traces on the interfaces, in order to transform every instrument into body devices.The troubling meaning of gestures results from a local and no technical connection to all mobilized communicative media, escaping sooner or later strategic interaction devices by default, because of body inertia, or by excess, owing to a sublimation of pre-set meaning issues. In our theoretical framework, gesture is conceived as a local contestation of meaning integration in interlocking levels of pertinence already set up and confirmed by a unitary economy of values. Through gestures, we can establish a meaning niche that stands between utterance retroduction (genesis of act) and prospecting of consequences (efficiency of act).