{"id":18425,"date":"2021-07-19T20:01:16","date_gmt":"2021-07-19T18:01:16","guid":{"rendered":"https:\/\/diploma2021.ecolecamondo.fr\/sujet-libre\/qui-a-hacke-garoutza\/"},"modified":"2021-09-06T16:19:34","modified_gmt":"2021-09-06T14:19:34","slug":"qui-a-hacke-garoutza","status":"publish","type":"subject-free","link":"https:\/\/diploma2021.ecolecamondo.fr\/en\/sujet-libre\/alix-deschamps-berger\/qui-a-hacke-garoutza\/","title":{"rendered":"Who hacked Garoutza?"},"content":{"rendered":"\n

Dans ce projet, j’ai travaill\u00e9 sur la mise en sc\u00e8ne d’une fiction sous forme de pi\u00e8ce de th\u00e9\u00e2tre \u00e9crite par trois scientifiques dont une sp\u00e9cialiste de l’IA et de l’\u00e9thique. Cette pi\u00e8ce leur a permis de d\u00e9battre de l’\u00e9volution d’une technologie au sein de nos foyers, d’exp\u00e9rimenter des sc\u00e9narios et de transmettre leur point de vue.<\/p><\/div><\/div><\/article>\n\n\n

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Affiche de la pi\u00e8ce\n<\/figcaption>\n <\/article>\n\n\n
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L’innovation technologique au centre de la pi\u00e8ce est le chatbot : un agent conversationnel qui interagit vocalement ou par messagerie avec un propri\u00e9taire comme lors d’une discussion entre humains.<\/p><\/div><\/div><\/article>\n\n\n

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Les agents conversationnels les plus connus et utilis\u00e9s sont Google Home, Siri et Alexa.\n<\/figcaption>\n <\/article>\n\n\n\n

L’intrigue de la pi\u00e8ce se place dans la prochaine d\u00e9cennie. Or nous savons que la pr\u00e9sence de ces agents conversationnels va intens\u00e9ment se densifier dans nos quotidiens. Le but de cette pi\u00e8ce de th\u00e9\u00e2tre est de trouver un nouveau moyen de faire accepter et de faire comprendre au public ces avanc\u00e9es.<\/p><\/div><\/div><\/article>\n\n\n

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La pr\u00e9sence des chatbots aujourd’hui<\/p><\/div><\/div><\/article>\n\n\n

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La pr\u00e9sence des chatbots demain<\/p><\/div><\/div><\/article>\n\n\n

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Le chatbot est le narrateur de la pi\u00e8ce de th\u00e9\u00e2tre. Celle-ci a \u00e9t\u00e9 \u00e9crite de son point de vue. La lettre G repr\u00e9sente le chatbot qui peut prendre toutes les formes que le propri\u00e9taire a souhait\u00e9 lui faire incarner.<\/p><\/div><\/div><\/article>\n\n\n

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Les personnages de la pi\u00e8ce\n<\/figcaption>\n <\/article>\n\n\n\n

La m\u00e9moire de G a \u00e9t\u00e9 hack\u00e9e : au lieu de repartir sur une base de donn\u00e9es vierge \u00e0 chaque nouvel utilisateur, elle garde en partie la m\u00e9moire de ce qu’elle a appris avec ses propri\u00e9taires pr\u00e9c\u00e9dents. D\u00e8s lors, cette limite franchie, pouvons-nous encore la rebooter ? Pour certains, cela nous am\u00e8nerait \u00e0 la “tuer”!<\/p><\/div><\/div><\/article>\n\n\n

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La pi\u00e8ce se d\u00e9roule en 4 actes. Durant celle-ci, le chatbot va faire des allers et retours dans ses diff\u00e9rentes vies pour que le public comprenne l’intrigue. L’intrigue est de savoir jusqu’\u00e0 quel point il peut s’approcher d’une certaine humanisation.<\/p><\/div><\/div><\/article>\n\n\n\n

Sch\u00e9mas de la pi\u00e8ce de th\u00e9\u00e2tre repr\u00e9sentant les allers et retours entre les 3 temporalit\u00e9s et les distances entre G et les personnages dans la m\u00e9moire spatio-temporelle de G. Ces sch\u00e9mas deviendront la mise en sc\u00e8ne et la sc\u00e9nographie de la pi\u00e8ce.<\/p><\/div><\/div><\/article>\n\n\n

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R\u00e9sum\u00e9 sch\u00e9matique du rayonnement de la m\u00e9moire de G en fonction des 4 actes.\n<\/figcaption>\n <\/article>\n\n\n\n

Deux choix pour cette pi\u00e8ce ont \u00e9t\u00e9 tr\u00e8s importants : Le choix du th\u00e9\u00e2tre et mon parti pris de la repr\u00e9sentation du Chatbot.<\/p><\/div><\/div><\/article>\n\n\n

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L’architecte Fran\u00e7ois Muracciole a \u00e9t\u00e9 d\u2019accord pour me suivre dans mon dipl\u00f4me. J’ai eu l’opportunit\u00e9 de l’assister, pendant 5 mois, sur la conception de la Flying Musick Room, un th\u00e9\u00e2tre itin\u00e9rant enti\u00e8rement d\u00e9montable en bois provenant du dessin de Thomas Mace.<\/p><\/div><\/div><\/article>\n\n\n\n

Je me suis inspir\u00e9e de ce th\u00e9\u00e2tre et de sa sc\u00e8ne quadrifrontale pour mettre en sc\u00e8ne l’\u00e9volution centrale du chatbot. En parall\u00e8le, mon projet de dipl\u00f4me a permis d’affiner sa structure, l’\u00e9tude de la lumi\u00e8re, les points de vue du public…<\/p><\/div><\/div><\/article>\n\n\n

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Entr\u00e9e du th\u00e9\u00e2tre\n<\/figcaption>\n <\/article>\n\n\n
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Maquette sur le stand. Maquette enti\u00e8rement r\u00e9alis\u00e9e avec l’aide du num\u00e9rique.\n<\/figcaption>\n <\/article>\n\n\n\n

Le Chatbot est une entit\u00e9 immat\u00e9rielle que l’Homme, dot\u00e9 d’une intelligence \u00e9motionnelle, a l’habitude de personnifier. On imagine toujours l’interlocuteur avec qui on parle que ce soit un Homme ou une Machine.<\/p><\/div><\/div><\/article>\n\n\n

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J’ai d\u00e9cid\u00e9 de repr\u00e9senter G avec un corps. Nous sommes dans sa m\u00e9moire num\u00e9rique ainsi elle dirige l’histoire de la pi\u00e8ce, et se mat\u00e9rialise avec l’objet de son manque : un corps. Au cours de la pi\u00e8ce elle fait sortir les mobiliers du sol et le th\u00e9\u00e2tre devient la continuit\u00e9 lumineuse de son corps.<\/p><\/div><\/div><\/article>\n\n\n\n

G change de propri\u00e9taire, de genre, de fa\u00e7on de s’exprimer, de bouger… petit \u00e0 petit elle \u00e9volue, elle se d\u00e9sautomatise, elle se lib\u00e8re, elle grandit spatialement pour enfin s’incarner et \u00eatre pr\u00eate pour la prochaine \u00e9tape c’est-\u00e0-dire interagir avec les humains via un corps.<\/p><\/div><\/div><\/article>\n\n\n

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Le son est important dans cette mise en sc\u00e8ne puisque le chatbot est avant tout un outil sonore. G parle directement avec le public pendant que les enregistrements des r\u00e9ponses des propri\u00e9taires sont retransmis dans les gradins. Le public devient le propri\u00e9taire qui interagit directement avec le chatbot.<\/p><\/div><\/div><\/article>\n\n\n

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En choisissant de mat\u00e9rialiser G par un corps, j’ai d\u00e9cid\u00e9 de d\u00e9shumaniser les propri\u00e9taires et autres com\u00e9diens en les d\u00e9doublant.<\/p><\/div><\/div><\/article>\n\n\n\n

Nous sommes dans la m\u00e9moire num\u00e9rique de G ainsi l’effet miroir du propri\u00e9taire renforce l’aspect surr\u00e9aliste de ce que l’on voit. G nous permet de voir l’enti\u00e8ret\u00e9 de l’action tout en \u00e9vitant de cr\u00e9er un r\u00e9el lien mat\u00e9riel et “humain” entre propri\u00e9taire et chatbot.<\/p><\/div><\/div><\/article>\n\n\n

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Le public entre dans le th\u00e9\u00e2tre, guid\u00e9 par les faisceaux lumineux au sol. Des radiations lumineuses accompagnent le public de l’ext\u00e9rieur vers l’int\u00e9rieur pour concentrer l’attention sur le centre de la sc\u00e8ne.\n<\/figcaption>\n <\/article>\n\n\n
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Cette temporalit\u00e9 est le trait d’union entre sa premi\u00e8re et sa derni\u00e8re vie o\u00f9 il sera le plus \u00e9volu\u00e9. Il prend petit \u00e0 petit plus d’espace dans le th\u00e9\u00e2tre. La partie sup\u00e9rieure du lustre est un jeu de tulle pour laisser appara\u00eetre l’architecture du d\u00f4me.\n<\/figcaption>\n <\/article>\n\n\n
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Dans sa forme la plus aboutie, le public est illumin\u00e9 comme pris \u00e0 parti.\n<\/figcaption>\n <\/article>\n\n\n
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Aurline la premi\u00e8re propri\u00e9taire de G souffre d’Alsheimer. C’est elle qui demande \u00e0 sa ni\u00e8ce d’hacker G pour qu’elle continue \u00e0 vivre apr\u00e8s sa mort dans la m\u00e9moire de G.\n<\/figcaption>\n <\/article>\n\n\n
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Le projet du th\u00e9\u00e2tre et le projet de la pi\u00e8ce de th\u00e9\u00e2tre ont \u00e9volu\u00e9 ensemble et continueront s\u00e9par\u00e9ment leur aboutissement. Tous les deux sont en voie d’\u00eatre concr\u00e9tis\u00e9s.<\/p><\/div><\/div><\/article>\n\n\n

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Maquette test de lumi\u00e8re int\u00e9rieure\n<\/figcaption>\n <\/article>\n\n\n
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Maquette test de lumi\u00e8re ext\u00e9rieure\n<\/figcaption>\n <\/article>\n","protected":false},"author":164,"featured_media":18427,"template":"","meta":{"_acf_changed":false,"_metafield_presentation":"This degree project is the production and set design of a play, written by three Artificial Intelligence experts, Serge Abiteboul, Laurence Devillers and Gilles Dowek. It poses ethical questions about the evolution of new technologies within our households. The intrigue revolves around the interaction of different users with a chatbot: a conversational agent. The viewer enters the digital memory of this technology to discover the way it sees its reality. The chatbot is installed in the centre of the Flying Musick Room, an itinerant theatre with a four-fronted stage, designed by Fran\u00e7ois Muracciole and Andreas Linos. 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