{"id":537,"date":"2020-09-05T13:02:07","date_gmt":"2020-09-05T13:02:07","guid":{"rendered":"https:\/\/trinityradionics.com\/meanings-messages-signals\/"},"modified":"2026-05-21T14:40:27","modified_gmt":"2026-05-21T14:40:27","slug":"meanings-messages-signals","status":"publish","type":"post","link":"https:\/\/trinityradionics.com\/fr\/sens-messages-signaux\/","title":{"rendered":"Sens, messages et signaux"},"content":{"rendered":"\n
\n Archives de recherche<\/span>\n

Sens, messages et signaux<\/h1>\n

L\u2019UNE des conqu\u00eates les plus manifestes du march\u00e9 mondial de ce si\u00e8cle a eu lieu dans les ann\u00e9es 1980. Les campagnes commerciales des entreprises ont enti\u00e8rement transform\u00e9 un march\u00e9\u2026<\/p>\n<\/section>\n\n

\n \"Meanings,\n
Image d\u2019archives pour \u00ab Sens, messages et signaux \u00bb<\/figcaption>\n<\/figure>\n\n
\n\n

L\u2019UNE des conqu\u00eates les plus manifestes du march\u00e9 mondial de ce si\u00e8cle a eu lieu dans les ann\u00e9es 1980. Les campagnes commerciales des entreprises ont enti\u00e8rement transform\u00e9 un march\u00e9 d\u00e9j\u00e0 satur\u00e9 de nombreux supports d\u2019enregistrement efficaces. Plusieurs g\u00e9ants de l\u2019\u00e9lectronique ont ainsi suscit\u00e9 une r\u00e9volution technologique inutile, tout en faisant preuve d\u2019une redoutable ma\u00eetrise de la manipulation sociale. La guerre psychologique men\u00e9e autour du CD a submerg\u00e9 le monde du travail sous un fl\u00e9au agressif de consommation ostentatoire. Selon certaines personnalit\u00e9s, l\u2019enregistrement num\u00e9rique est une technologie totalement inutile et surestim\u00e9e. Il ne suffit pas d\u2019\u00e9voquer les effets de la \u00ab r\u00e9volution \u00bb du CD sur la sensibilit\u00e9 humaine, effets qui endommagent la conscience. La technologie num\u00e9rique et son incapacit\u00e9 flagrante \u00e0 tenir ses promesses appellent un commentaire scientifique clair.<\/p>\r\n\r\n\r\n\r\n

\r\n
\r\n
Phonographe Edison Idealia,
vers 1907<\/figcaption>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n

D\u00c9SACCORD<\/strong><\/p>\r\n\r\n\r\n\r\n

L\u2019apparition des syst\u00e8mes CD s\u2019est accompagn\u00e9e d\u2019une vague de r\u00e9sistance parmi les\u00a0passionn\u00e9s<\/em>\u00a0des supports d\u2019enregistrement existants. Les diff\u00e9rences manifestes entre supports analogiques et num\u00e9riques \u00e9taient enti\u00e8rement qualitatives, et une part importante du public exprimait son d\u00e9saccord. C\u2019\u00e9tait un affront que les dirigeants des entreprises ne voulaient pas tol\u00e9rer.<\/p>\r\n\r\n\r\n\r\n

Une remarquable convergence de vues est apparue chez des commentateurs ind\u00e9pendants de l\u2019industrie audio, pourtant tr\u00e8s \u00e9loign\u00e9s les uns des autres. S\u2019appuyant sur leurs sensations et leur \u00ab ressenti \u00bb, des sp\u00e9cialistes du monde entier d\u00e9ploraient le \u00ab tranchant agressif \u00bb, l\u2019\u00ab attaque dure \u00bb et l\u2019\u00ab atmosph\u00e8re froide \u00bb qui caract\u00e9risaient le son du CD. La \u00ab douce chaleur \u00bb des enregistrements phonographiques comme magn\u00e9tiques est entr\u00e9e dans le vocabulaire \u00e9tabli des critiques du CD.<\/p>\r\n\r\n\r\n\r\n

Les ing\u00e9nieurs du son se rappelaient exactement les m\u00eames commentaires lors de la diffusion de la technologie des transistors. Si les transistors au germanium donnaient des r\u00e9sultats v\u00e9ritablement excellents pour la r\u00e9ception de la radio ou de la t\u00e9l\u00e9vision, ils \u00e9chouaient dans les applications audio. Certains d\u00e9ploraient le \u00ab son froid et dur \u00bb des amplificateurs st\u00e9r\u00e9o \u00e0 transistors, lui pr\u00e9f\u00e9rant le \u00ab son chaud et doux \u00bb des tubes \u00e0 vide. Quelques entreprises ont continu\u00e9 \u00e0 fabriquer des amplificateurs st\u00e9r\u00e9o \u00e0 tubes, devenus aujourd\u2019hui des classiques pour les collectionneurs.<\/p>\r\n\r\n\r\n\r\n

Les musiciens de la fin des ann\u00e9es 1960 se souviennent de l\u2019arriv\u00e9e des premiers amplificateurs de guitare \u00e0 transistors et de leur d\u00e9couverte de ce m\u00eame son \u00ab dur, tranchant, froid et sans r\u00e9activit\u00e9 \u00bb. Ceux qui appr\u00e9ciaient la distorsion et les effets naturels de larsen furent stup\u00e9faits de constater que les amplificateurs \u00e0 transistors ne permettaient ni l\u2019un ni l\u2019autre. D\u2019autres changements furent remarqu\u00e9s lorsque le silicium rempla\u00e7a le germanium des premiers transistors. Les gros transistors au germanium produisaient des sons radiophoniques \u00ab clairs et profonds \u00bb, compar\u00e9s au son \u00ab mince et plat \u00bb des transistors au silicium.<\/p>\r\n\r\n\r\n\r\n

Les \u00e9tudes quantitatives du ph\u00e9nom\u00e8ne ont donn\u00e9 des r\u00e9sultats intrigants. Les ing\u00e9nieurs du son ont constat\u00e9 que les tubes \u00e0 vide amplifiaient le mieux toutes les harmoniques paires des signaux d\u2019entr\u00e9e, tandis que les transistors amplifiaient le mieux les harmoniques impaires. On supposait que l\u2019impression de son \u00ab chaud \u00bb ou \u00ab froid \u00bb provenait de ces diff\u00e9rences d\u2019harmoniques.<\/p>\r\n\r\n\r\n\r\n

Convaincus que la tendance aux transistors s\u2019imposerait, de nombreux ing\u00e9nieurs ont continu\u00e9 \u00e0 concevoir des amplificateurs st\u00e9r\u00e9o \u00e0 transistors. Ceux-ci furent des \u00e9checs commerciaux retentissants. Les amplificateurs st\u00e9r\u00e9o \u00e0 tubes conserv\u00e8rent leur place de composants pr\u00e9f\u00e9r\u00e9s des amateurs de st\u00e9r\u00e9o, tandis que des entreprises plus anciennes, toujours prosp\u00e8res, dominaient ce secteur.<\/p>\r\n\r\n\r\n\r\n

La perception du son \u00ab chaud et doux \u00bb persiste aujourd\u2019hui, comme en t\u00e9moignent les ventes importantes d\u2019amplificateurs \u00e0 tubes en vogue, destin\u00e9s aussi bien aux cha\u00eenes st\u00e9r\u00e9o qu\u2019aux instruments de musique. Le march\u00e9 des syst\u00e8mes de lecture de vinyles \u00e0 la mode t\u00e9moigne lui aussi d\u2019une nouvelle renaissance de l\u2019analogique. Une simple visite dans les quartiers artistiques permet de constater cette pr\u00e9f\u00e9rence croissante. Certains jours, les nouveaux espaces de d\u00e9monstration analogique sont pleins au point qu\u2019on ne peut plus s\u2019y tenir debout. L\u2019industrie du disque observe sans passion ce ph\u00e9nom\u00e8ne social et fournit de nouveaux pressages vinyles en pr\u00e9vision du retour \u00e0 l\u2019analogique.<\/p>\r\n\r\n\r\n\r\n

ESTH\u00c9TIQUE ETHNIQUE<\/strong><\/p>\r\n\r\n\r\n\r\n

Les raisons pour lesquelles l\u2019industrie tentait de d\u00e9courager tous ces arguments ou jugements fond\u00e9s sur le ressenti \u00e9taient trop \u00e9videntes. Ceux-ci suscitaient chez SONY et d\u2019autres marques \u00e9trang\u00e8res des r\u00e9ponses rebattues et acerbes. L\u2019industrie avait massivement investi dans le num\u00e9rique ; sa ligne n\u2019avait rien \u00e0 voir avec l\u2019esth\u00e9tique.<\/p>\r\n\r\n\r\n\r\n

SONY a rapidement financ\u00e9 et diffus\u00e9 sa propre propagande : une insinuation virulente et moqueuse centr\u00e9e sur la \u00ab faillibilit\u00e9 du discernement humain \u00bb et l\u2019\u00ab infaillibilit\u00e9 \u00bb des performances num\u00e9riques. En inventant et en proclamant ses propres conclusions sur l\u2019esth\u00e9tique occidentale, cette vague de contre-commentaires d\u00e9nigrait la sensibilit\u00e9 humaine telle qu\u2019elle s\u2019exerce en Occident. Ce que l\u2019industrie exigeait, en r\u00e9alit\u00e9, \u00e9tait une conversion de l\u2019esth\u00e9tique occidentale \u00e0 l\u2019esth\u00e9tique orientale, conversion inh\u00e9rente \u00e0 la nature m\u00eame du son du CD.<\/p>\r\n\r\n\r\n\r\n

SONY a appel\u00e9 les consommateurs \u00e0 \u00ab am\u00e9liorer et moderniser leur discernement audio \u00bb. En exigeant qu\u2019ils acceptent le son num\u00e9rique comme la \u00ab perfection audio \u00bb, la r\u00e9action industrielle se montrait, comme \u00e0 son habitude, inflexible et dictatoriale. Les critiques du num\u00e9rique \u00e9taient accus\u00e9s de manquer de discipline et de qualifications, et d\u2019avoir une sensibilit\u00e9 d\u00e9pass\u00e9e.<\/p>\r\n\r\n\r\n\r\n

Les ing\u00e9nieurs de l\u2019industrie ont alors cess\u00e9 d\u2019\u00e9couter les plaintes des consommateurs. Ils ont persist\u00e9 dans leur propre silence, satisfaits du \u00ab succ\u00e8s prouv\u00e9 \u00bb de la technologie. Les \u00e9tudes de terrain aupr\u00e8s des consommateurs confirmaient encore le bien-fond\u00e9 de leur fiert\u00e9. Le seul contr\u00f4le du march\u00e9 devait d\u00e9sormais \u00e9touffer toutes les plaintes. Pourtant, malgr\u00e9 sa posture autoritaire, SONY ne pouvait pas faire changer d\u2019avis la population occidentale, qui \u00ab sentait la diff\u00e9rence \u00bb entre les supports analogiques et num\u00e9riques. SONY n\u2019avait pas compris ni pris en compte le fait que des sensibilit\u00e9s purement ethnoraciales continueraient \u00e0 dominer les pr\u00e9f\u00e9rences du march\u00e9. Cet obstacle avait \u00e9t\u00e9 n\u00e9glig\u00e9 dans ses vastes \u00e9tudes commerciales. La technologie est donc intrins\u00e8quement orient\u00e9e : une impr\u00e9gnation ethnoraciale teinte chaque nouvelle production.<\/p>\r\n\r\n\r\n\r\n

La musique reste la musique, pensaient-ils. Il y avait ces artistes \u00ab classiques \u00bb \u00e9trangers sans \u00e9motion, dont les interpr\u00e9tations convenaient parfaitement \u00e0 la technologie num\u00e9rique : impossible de distinguer une prestation en direct d\u2019un enregistrement. Mais les auditeurs occidentaux avertis continuaient de percevoir le vide qui caract\u00e9risait toujours les disques compacts.<\/p>\r\n\r\n\r\n\r\n

RETRAIT<\/strong><\/p>\r\n\r\n\r\n\r\n

Pendant une courte p\u00e9riode, de larges groupes de consommateurs se sont soudain mis \u00e0 pr\u00e9f\u00e9rer l\u2019analogique. Les magasins qui bradaient les vinyles ont connu des ventes consid\u00e9rables, \u00e9coulant souvent leur stock en quelques heures apr\u00e8s l\u2019ouverture. Lorsque les vendeurs de CD ont commenc\u00e9 \u00e0 signaler cette fuite du march\u00e9, les manipulateurs de l\u2019industrie ont entrepris de retirer les vinyles du commerce. Mais alors m\u00eame que les disques vinyles disparaissaient, les bandes magn\u00e9tiques se vendaient comme jamais auparavant. Cette persistance \u00e9tait \u00e9tonnante : les pr\u00e9f\u00e9rences sociales d\u00e9fiaient les man\u0153uvres manipulatrices des entreprises \u00e9trang\u00e8res. L\u2019industrie observait avec inqui\u00e9tude ces tendances guid\u00e9es par l\u2019esth\u00e9tique. Pouvait-elle combattre une esth\u00e9tique de nature purement ethnoraciale ?<\/p>\r\n

 <\/p>\r\n

borderlandresearch<\/p>\n\n<\/section>\n\n","protected":false},"excerpt":{"rendered":"

L\u2019UNE des conqu\u00eates les plus manifestes du march\u00e9 mondial de ce si\u00e8cle a eu lieu dans les ann\u00e9es 1980. Les campagnes commerciales des entreprises ont enti\u00e8rement transform\u00e9 un march\u00e9 d\u00e9j\u00e0 satur\u00e9 de nombreux supports d\u2019enregistrement efficaces. Plusieurs g\u00e9ants de l\u2019\u00e9lectronique ont ainsi suscit\u00e9 une r\u00e9volution technologique inutile, tout en faisant preuve d\u2019une redoutable ma\u00eetrise de la manipulation sociale. Lire la 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