{"id":1360,"date":"2023-06-12T19:43:56","date_gmt":"2023-06-12T17:43:56","guid":{"rendered":"http:\/\/bozon2x.be\/blog\/?p=1360"},"modified":"2023-06-12T19:44:00","modified_gmt":"2023-06-12T17:44:00","slug":"nous-naurons-pas-connu-le-reel","status":"publish","type":"post","link":"https:\/\/bozon2x.be\/blog\/nous-naurons-pas-connu-le-reel\/","title":{"rendered":"Nous n\u2019aurons pas connu le r\u00e9el"},"content":{"rendered":"

J\u2019ai l\u2019impression que quoi que nous fassions nous mourrons sans avoir connu le r\u00e9el.<\/span><\/p>\n

Comment d\u00e9finir le r\u00e9el\u00a0? Justement il y a impossibilit\u00e9 \u00e0 le d\u00e9finir avec pr\u00e9cision. Pourquoi\u00a0? Parce que nous ne pouvons apparemment le penser ou le dire que par le truchement du langage et pas seulement en l\u2019\u00e9prouvant dans sa pl\u00e9nitude et sa neutralit\u00e9 par rapport \u00e0 nous.<\/span><\/p>\n

Il faudrait que nous puissions prendre conscience de la dimension, de l\u2019extension carc\u00e9rale des mots, du fait qu\u2019en nommant ils d\u00e9signent et enferment dans un cadre, laissant du coup pr\u00e9cis\u00e9ment le r\u00e9el hors-champ.<\/span><\/p>\n

R\u00e9cemment j\u2019ai revu le film de 1966 de Michelangelo Antonioni, Blow up<\/i>. Je l\u2019avais vu au cin\u00e9ma il y a plus d\u2019une trentaine d\u2019ann\u00e9es et except\u00e9e la mythique sc\u00e8ne finale de la partie mim\u00e9e de tennis j\u2019en avais oubli\u00e9 le c\u0153ur de l\u2019intrigue. A l\u2019\u00e9poque j\u2019ignorais m\u00eame que le film \u00e9tait une adaptation d\u2019une nouvelle de l\u2019\u00e9crivain argentin Julio Cort\u00e1zar. Mais en v\u00e9rit\u00e9 il s\u2019agit plus d\u2019une libre interpr\u00e9tation que d\u2019une adaptation.<\/span><\/p>\n

Le film met en sc\u00e8ne un jeune photographe de mode qui un matin prend incidemment en photo dans un parc de Londres, un meurtre. Il assiste au meurtre, mais il ne le voit pas. Ce ne sera qu\u2019apr\u00e8s coup, \u00e9loign\u00e9 du r\u00e9el et se rapprochant par \u00e0-coups de la r\u00e9alit\u00e9 qu\u2019il avait v\u00e9cue \u00e0 son insu, s\u2019en approchant \u00e0 coups de tirages photographiques et de zooms successifs, qu\u2019il parviendra \u00e0 rendre visible ce qui, sur place, lui avait \u00e9t\u00e9 invisible.<\/span><\/p>\n

Le neurologue Lionel Naccache explique en partie ce ph\u00e9nom\u00e8ne dans son essai de 2020 Le Cin\u00e9ma int\u00e9rieur\u00a0: Projection priv\u00e9e au c\u0153ur de la conscience<\/i>, en r\u00e9pondant pour nous \u00e0 la question\u00a0: \u00ab\u00a0Comment percevons-nous une suite d\u2019images en un film continu\u00a0?<\/i>\u00a0\u00bb. Car en effet, comme il nous l\u2019apprend\u00a0: \u00ab\u00a0Dans une salle de cin\u00e9ma, 24 images nous sont projet\u00e9es par seconde. 24 images par seconde que nous percevons comme un film continu. Dans notre cin\u00e9ma int\u00e9rieur, 13 images par seconde sont projet\u00e9es sur la sc\u00e8ne de notre conscience. 13 images par seconde que nous percevons comme un film continu.<\/i>\u00a0\u00bb. A m\u00e9diter\u00a0: neurophysiologiquement nous percevons le monde r\u00e9el et si anim\u00e9 qui nous entoure \u00e0 raison de 13 images par seconde. Notre cerveau comble les lacunes…<\/span><\/p>\n

\"\"
\u00a0<\/figcaption><\/figure>\n

La nouvelle de Cort<\/span><\/span>\u00e1<\/span><\/span>zar, titr\u00e9e <\/span><\/span>Les fils de la Vierge<\/i><\/span><\/span> (pluriel de fil\u00a0!) dans son recueil de nouvelles <\/span><\/span>Les armes secr\u00e8tes<\/i><\/span><\/span>, se d\u00e9roule \u00e0 Paris \u00e0 la petite place Louis Aragon \u00e0 la pointe de l\u2019\u00cele Saint-Louis et met en sc\u00e8ne un traducteur qui n\u2019est que photographe amateur. L\u2019histoire est toute autre. Son protagoniste rep\u00e8re le jeu d\u2019une femme qui entreprend un adolescent visiblement pour le compte d\u2019un homme qui attend un peu plus loin dans une voiture. Les fils de la Vierge d\u00e9signent \u00e0 la campagne les restes de toiles d\u2019araign\u00e9es que l\u2019on retrouve au matin pris dans les v\u00e9g\u00e9taux. En prenant des photos le traducteur bouleverse la situation et permet au jeune gar\u00e7on de s\u2019\u00e9clipser. Ce n\u2019est que quelques jours plus tard en les d\u00e9veloppant que l\u2019irr\u00e9alisable se r\u00e9alise\u00a0: il r<\/span><\/span>ebascule dans la tension du moment pass\u00e9 et est <\/span><\/span>comm<\/span><\/span>e happ\u00e9 par l\u2019image.<\/span><\/span><\/p>\n

<\/a>Cort<\/span><\/span>\u00e1<\/span><\/span>zar explore l\u00e0 un de ses th\u00e8mes de pr\u00e9dilection, que nous retrouvons notamment dans ses autres nouvelles <\/span><\/span>Axolotl<\/i><\/span><\/span> et la plus connue <\/span><\/span>Continuit\u00e9 des parcs<\/i><\/span><\/span>, \u00e0 savoir\u00a0: le d\u00e9clic qui d\u2019un coup oblit\u00e8re une r\u00e9alit\u00e9 pour une autre, comme s\u2019il \u00e9tait r\u00e9ellement possible de passer de l\u2019autre c\u00f4t\u00e9 du miroir.<\/span><\/span><\/p>\n

Comment, sans le dire, \u00e9noncer l\u2019indicible de ce passage qui nous \u00e9chappe entre plusieurs strates du r\u00e9el\u00a0? Se pourrait-il que sans cesse nous traduisions, nous fictionnalisions les informations incompl\u00e8tes que nous percevons du r\u00e9el en un sc\u00e9nario qui nous soit individuellement compr\u00e9hensible et acceptable\u00a0?<\/span><\/p>\n

Chacune et chacun de nous alors vit et voit dans son monde unique, un monde \u00e0 la Magritte.<\/span><\/p>\n

Certes, outre le r\u00e9el inconnaissable au sein duquel nous coexistons, il y a bien des faits et leur r\u00e9alit\u00e9 est ind\u00e9niable. Et cette r\u00e9alit\u00e9 n\u2019est peut-\u00eatre pas poreuse. Mais, par la fictionnalisation inh\u00e9rente \u00e0 notre nature humaine, elle est f\u00eal\u00e9e. Alors peut-\u00eatre pourrait-elle, par ses f\u00ealures, nous laisser voir, parfois, le r\u00e9el\u00a0? Ce serait l\u00e0 une question de lecture…<\/span><\/p>\n

Je repense soudain \u00e0 l\u2019ouvrage de 1981 de Jean Baudrillard Simulacres et Simulation<\/i>, quand il y \u00e9crit que\u00a0: \u00ab\u00a0Disneyland est l\u00e0 pour cacher que c’est le pays <\/i>\u00ab\u00a0<\/i>r\u00e9el<\/i>\u00ab\u00a0<\/i>, toute l’Am\u00e9rique <\/i>\u00ab\u00a0<\/i>r\u00e9elle<\/i>\u00ab\u00a0<\/i> qui est Disneyland <\/i>[…]\u00a0Disneyland est pos\u00e9 comme imaginaire afin de faire croire que le reste est r\u00e9el<\/i> […] Il ne s’agit plus d’une repr\u00e9sentation fausse de la r\u00e9alit\u00e9 (l’id\u00e9ologie), il s’agit de cacher que le r\u00e9el n’est plus le r\u00e9el, et donc de sauver le principe de r\u00e9alit\u00e9.<\/i>\u00a0\u00bb.<\/span><\/p>\n

Lorenzo Soccavo<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

J\u2019ai l\u2019impression que quoi que nous fassions nous mourrons sans avoir connu le r\u00e9el. Comment d\u00e9finir le r\u00e9el\u00a0? 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