{"id":1254,"date":"2018-02-26T18:24:34","date_gmt":"2018-02-26T17:24:34","guid":{"rendered":"http:\/\/wp.unil.ch\/dispositifs\/?page_id=1254"},"modified":"2018-03-04T20:42:06","modified_gmt":"2018-03-04T19:42:06","slug":"conferences-2018","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/dispositifs\/conferences-de-lausanne-2\/conferences-2018\/","title":{"rendered":"Conf\u00e9rences 2018"},"content":{"rendered":"

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Le mercredi 14 mars 2018, 18h, salle 4215<\/h2>\n

Vincent Barras (Universit\u00e9 de Lausanne)\u00a0: Dispositifs d\u2019auralit\u00e9 en m\u00e9decine<\/em><\/h3>\n

Si le st\u00e9thoscope, embl\u00e8me capital de la profession m\u00e9dicale, est connu comme l\u2019instrument ayant par excellence permis le basculement \u2013 paradoxal en regard des modalit\u00e9s sensorielles engag\u00e9es \u2013 vers le \u00ab\u00a0regard clinique\u00a0\u00bb r\u00e9put\u00e9 fondateur de la m\u00e9decine moderne (Foucault 1963), il convient pourtant, au-del\u00e0 de l\u2019apparente \u00e9vidence de l\u2019efficacit\u00e9 de cet instrument, de s\u2019arr\u00eater plus longuement sur la question des dispositifs d\u2019auralit\u00e9 en m\u00e9decine. Ceux-ci, en effet, ne sont pas uniquement des outils transparents permettant d\u2019amplifier, reproduire, fixer des ph\u00e9nom\u00e8nes sonores naturels, ils transforment la r\u00e9alit\u00e9 (le corps se transforme en objet sonore) autant que la perception des humains impliqu\u00e9s (le m\u00e9decin devient un sujet \u00e9coutant). En m\u00e9decine, l\u2019\u00e9coute est donc bien plus que le \u00ab\u00a0simple\u00a0\u00bb exercice d\u2019une porte sensorielle suppl\u00e9mentaire. Entendue comme dispositif, c\u2019est-\u00e0-dire dot\u00e9e de \u00ab\u00a0la capacit\u00e9 de capturer, d\u2019orienter, de d\u00e9terminer, d\u2019intercepter, de modeler, de contr\u00f4ler et d\u2019assurer les gestes, les conduites, les opinions et les discours des \u00eatres vivants\u00a0\u00bb (Agamben 2014), l\u2019\u00e9coute fa\u00e7onne le monde, elle fa\u00e7onne notre rapport au monde, elle nous fa\u00e7onne.<\/p>\n

 <\/p>\n

Le mercredi 25 avril 2018, 18h, salle 4215<\/h2>\n

Noam Elcott (Columbia University, New York)\u00a0: Dispositifs of the Screen, circa 1929<\/em><\/h3>\n

By the end of the 1920s, three distinct dispositifs for the screen came into focus: as a window on the world, as an enclosed object, and as a ghostly presence. These models looked back to early-modern genres\/modes of painting and forward to the collapse of classical cinema, the rise of television, and emergence of video installations. For the interwar European avant-gardes, above all L\u00e1szl\u00f3 Moholy-Nagy, the contours of these three distinct dispositifs were already visible, but they were not yet entrenched in industrial media infrastructures. This paper refuses to ontologize the screen but neither does it envision a screen freed from cultural and technological constraints. Instead, it interrogates a watershed moment in the screen’s perpetual evolution, one shaped by technology, industry, and art over the course of centuries.<\/p>\n

 <\/p>\n

Le mercredi 16 mai 2018, 18h, salle 4215<\/h2>\n

Sean Cubitt (Goldsmiths University, Londres)\u00a0: Ancestral landscapes<\/em><\/h3>\n

After its technical formation, photography passed through three historical phases: the snapshot, the cinematograph, and the database. These moments reflect distinct passages of the relation between image and world that can be summed up in the distinction between continuum and discrete objects. Eco-criticism intends to break down the discrete by insisting on the mutual connectivity of everything. But does this network model represent the imposition of a universal identity on the contingent non-identity of the world? The encounter with texts and practices on which criticism depends may be impossible in a time when the database begins to match the inexhaustible complexity and scale of the real world. An enquiry into landscape, as formed in the interaction of human and natural forces and as genre of media art, may offer a portal into the dialectic of universal and particular at work in the history of the photographic image.<\/p>\n","protected":false},"excerpt":{"rendered":"

Le mercredi 14 mars 2018, 18h, salle 4215 Vincent Barras (Universit\u00e9 de Lausanne)\u00a0: Dispositifs d\u2019auralit\u00e9 en m\u00e9decine Si le st\u00e9thoscope, embl\u00e8me capital de la profession m\u00e9dicale, est connu comme l\u2019instrument … <\/p>\n","protected":false},"author":1001743,"featured_media":0,"parent":875,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-1254","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1254","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/users\/1001743"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/comments?post=1254"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1254\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/875"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/media?parent=1254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}