The socio-technical appropriation of the mp3 player : listening to the users

Dans ma thèse, je souhaite proposer une compréhension globale de la pratique d'écoute au moyen du cadre de l'appropriation socio-technique (Bardini, 1996; De Smedt, 2006; Flichy, 2003; Millerand, 1998; 1999; 2002; Proulx, 2001). Premièrement, une ethnographie de la dynamique d'usage de l'objet par ses utilisateurs permet d'éliciter la signification qu'ils donnent à leur pratique. Deuxièmement, l'analyse de l'expérience d'écoute m'amènera à définir ce qu'est la réception musicale aujourd'hui en prenant en compte les dimensions sociales et techniques ainsi que le cadre du quotidien. Dans cette présentation, je partage les premiers résultats de ma phase exploratoire. L'analyse de 13 observations a fait ressortir une série de concepts qui lient la manipulation technique et la situation d'usage. 10 entretiens sont actuellement entrepris pour compléter ces observations et approfondir les premières interprétations. Je conclurai cette exploration avec une proposition de modèle pour l'analyse de la pratique d'écoute musicale mobile.To make history short, we can say that since the advent of sound recording, technology has evolved toward a size reduction and a tendency to individualize listening practices. The development of listening through headphones allowed the listener to live a personal quality experience of music. Since the invention of the Walkman, the listener has the opportunity to listen to his music wherever he is. Now, mobile listening practice is spreading with the mp3 player. It is one of the most frequent ways of listening to music today. Existing research on this object focuses on specific aspects of this practice: relationship with the environment, interactions between private and public spaces, music as a resource for the self (Beer, 2007; Bull, 2005; Pecqueux, 2009; Simun, 2009; Thibaud, 1994). In my thesis, I want to provide a global understanding of the practice of listening thanks to the framework of socio-technical appropriation (Bardini, 1996; De Smedt, 2006; Flichy, 2003; Millerand, 1998; 1999; 2002; Proulx, 2001). First, ethnography of the dynamic of the use of the object by its users allow to elicit the meaning the users give to their practice. Second, the analysis of the experience of listening will lead to define what is today’s musical reception. This includes dimensions that take into account everyday, social and technical aspects. In this presentation, I will share the first results of my exploratory phase (currently in progress). The analysis of thirteen observations has led to a first group of concepts that link technical handling of the object and situation of use. Ten interviews are currently undertaken to complete the observations and deepen the first interpretations. I will conclude this exploration with a proposition for a model of analysis of the mobile music listening practice