{"id":10961,"date":"2026-05-16T06:30:09","date_gmt":"2026-05-16T04:30:09","guid":{"rendered":"https:\/\/editionsjou.net\/?p=10961"},"modified":"2026-05-16T06:30:09","modified_gmt":"2026-05-16T04:30:09","slug":"278-un-monstre-critique-par-pierre-menard","status":"publish","type":"post","link":"https:\/\/revuetina.editionsjou.net\/?p=10961","title":{"rendered":"#278\/ Un monstre critique, par Pierre M\u00e9nard"},"content":{"rendered":"\n


Sur la page d’accueil du site Foukenstein<\/a>, un col roul\u00e9 flottant en 3D nous accueille. On peut d\u00e9couvrir une version IA de Michel Foucault, cr\u00e9\u00e9e par la Distributed Gallery, un collectif d’artistes, de cr\u00e9ateurs et d’ing\u00e9nieurs pr\u00e9sent sur la sc\u00e8ne artistique contemporaine depuis 2017. Un sobre formulaire nous invite \u00e0 poser une question. Une voix synth\u00e9tique nous r\u00e9pond quelques instants plus tard. Celle du philosophe ressuscit\u00e9 par un LLM open source. Techniquement, l\u2019outil repose sur un clonage vocal avec Coqui XTTS reli\u00e9 \u00e0 Mistral AI. Les fichiers du mod\u00e8le sont en acc\u00e8s libre. Chacun peut fabriquer sa propre version. Un compteur indique que l\u2019exp\u00e9rience, \u00e9nergivore et co\u00fbteuse, ne peut pas durer tr\u00e8s longtemps. Elle risque de s\u2019interrompre \u00e0 tout moment.<\/p>\n\n\n\n

Comme l’\u00e9crit Gr\u00e9gory Chatonsky dans son r\u00e9cent article, La communaut\u00e9 des voix, \u00e0 propos du clonage de la voix par l’IA g\u00e9n\u00e9rative : \u00ab Ce qui est captur\u00e9 n\u2019est pas l\u2019enregistrement indiciel des ondes sonores, ce n\u2019est pas le contenu de ce qui a \u00e9t\u00e9 dit. C\u2019est l\u2019empreinte d\u2019une texture, d\u2019une certaine tessiture, d\u2019un grain de la voix, ces micro-variations infra-s\u00e9mantiques qui rendent une voix irrempla\u00e7able, reconnaissable entre toutes, ant\u00e9rieures \u00e0 tout sens, ant\u00e9rieures m\u00eame \u00e0 toute intention. Le mod\u00e8le n\u2019apprend pas ce que cette voix a dit : il apprend comment elle dit, et peut ensuite lui faire dire n\u2019importe quoi. \u00bb<\/p>\n\n\n\n

Au d\u00e9part, ce projet s\u2019apparente donc \u00e0 une blague. Une profanation volontaire. Cr\u00e9er un monstre \u00e0 la Frankenstein, en clonant la voix de Foucault branch\u00e9e sur un mod\u00e8le de langage. Derri\u00e8re ce canular, une r\u00e9flexion sur notre rapport \u00e0 la technique et sur les limites d\u2019une critique devenue parfois syst\u00e9matique. On parle de technofascisme et de capitalisme de plateforme. Ces critiques sont justes. L\u2019IA g\u00e9n\u00e9rative repose en effet sur l’extraction massive de ressources, l’exploitation de travailleurs invisibles, la capture des donn\u00e9es, des \u0153uvres, des archives. Mais pour ces artistes, refuser syst\u00e9matiquement ces outils pourrait aussi signifier abandonner le terrain technique \u00e0 ceux qui le dominent d\u00e9j\u00e0. Une infrastructure centrale de circulation des savoirs et des discours. Les ignorer ne suffira pas \u00e0 les faire dispara\u00eetre.<\/p>\n\n\n\n

Le projet Foukenstein ne d\u00e9nonce pas simplement les machines, mais il les d\u00e9tourne, les bricole, et finit par les hacker. Selon leurs auteurs, le projet \u00ab ne cherche ni \u00e0 simuler Foucault, ni \u00e0 en offrir une incarnation fid\u00e8le, mais plut\u00f4t \u00e0 construire un monstre critique : une pr\u00e9sence artificielle, instable et ambivalente, capable de d\u00e9clarations tant\u00f4t justes, tant\u00f4t erron\u00e9es. \u00c0 travers cette voix synth\u00e9tique, foukenstein s\u2019interroge sur la mani\u00e8re dont l\u2019autorit\u00e9 th\u00e9orique peut \u00eatre fabriqu\u00e9e, rejou\u00e9e et \u00e9branl\u00e9e par un dispositif technique. \u00bb<\/p>\n\n\n\n

En 1971, face \u00e0 l’objectif du philosophe n\u00e9erlandais Fons Elders, Michel Foucault annon\u00e7ait, dans la lucidit\u00e9 programmatique qui le caract\u00e9risait, la mort de l’homme. Non pas la fin de l’esp\u00e8ce, mais la dissolution d’une vieille fiction, celle de la figure du sujet souverain, conscient et ma\u00eetre de son propre savoir.<\/p>\n\n\n\n

\u00ab Je ne crois pas, si vous voulez, aux vertus de l’expression. Le langage qui m’int\u00e9resse, c’est celui qui est tel qu’il peut d\u00e9truire justement toutes les formes circulaires, closes, narcissiques du sujet et de soi-m\u00eame. Et ce que j’entends dans cette disparition de l’homme, c’est au fond la disparition de toutes ces formes de l’individualit\u00e9, de la subjectivit\u00e9, de la conscience, du moi sur lesquels on a b\u00e2ti et \u00e0 partir desquels on a essay\u00e9 de b\u00e2tir et de fonder le savoir. L’Occident a essay\u00e9 de b\u00e2tir la figure de l’homme comme cela ; cette figure, elle est en train de dispara\u00eetre. \u00bb<\/p>\n\n\n\n

Foukenstein pousse cette id\u00e9e jusqu\u2019au grotesque. Une parole sans auteur stable, une voix qui continue hors du corps, artificielle, parfois absurde. Le mode SLAVE, qui transforme n’importe quel texte court avec le grain de voix et la diction particuli\u00e8re du philosophe, renforce cette impression. Ni une c\u00e9l\u00e9bration na\u00efve de l\u2019IA, ni un simple rejet, mais une exp\u00e9rience critique. Une tentative de reprendre la main sur des outils qui envahissent notre quotidien.<\/p>\n\n\n\n

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Sur la page d’accueil du site Foukenstein, un col roul\u00e9 flottant en 3D nous accueille<\/p>\n","protected":false},"author":2,"featured_media":10965,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8,22,4],"tags":[],"class_list":["post-10961","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-i-a","category-revue-tina"],"yoast_head":"\n#278\/ Un monstre critique, par Pierre M\u00e9nard - revue TINA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/revuetina.editionsjou.net\/?p=10961\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"#278\/ Un monstre critique, par Pierre M\u00e9nard - revue TINA\" \/>\n<meta property=\"og:description\" content=\"Sur la page d'accueil du site Foukenstein, un col roul\u00e9 flottant en 3D nous accueille\" \/>\n<meta property=\"og:url\" content=\"https:\/\/revuetina.editionsjou.net\/?p=10961\" \/>\n<meta property=\"og:site_name\" content=\"revue TINA\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-16T04:30:09+00:00\" \/>\n<meta name=\"author\" content=\"Eric Arlix\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Eric Arlix\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/?p=10961#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/?p=10961\"},\"author\":{\"name\":\"Eric Arlix\",\"@id\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/#\\\/schema\\\/person\\\/c28daead05fe49e106d2655b42e8f9bd\"},\"headline\":\"#278\\\/ Un monstre critique, par Pierre M\u00e9nard\",\"datePublished\":\"2026-05-16T04:30:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/?p=10961\"},\"wordCount\":777,\"image\":{\"@id\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/?p=10961#primaryimage\"},\"thumbnailUrl\":\"\",\"articleSection\":[\"Art\",\"I.A.\",\"revue TINA\"],\"inLanguage\":\"fr-FR\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/?p=10961\",\"url\":\"https:\\\/\\\/revuetina.editionsjou.net\\\/?p=10961\",\"name\":\"#278\\\/ Un monstre critique, par Pierre M\u00e9nard - 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