{"id":1283,"date":"2020-02-12T10:39:34","date_gmt":"2020-02-12T09:39:34","guid":{"rendered":"http:\/\/wp.unil.ch\/dispositifs\/?page_id=1283"},"modified":"2020-02-25T16:47:42","modified_gmt":"2020-02-25T15:47:42","slug":"conferences-2020","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/dispositifs\/conferences-de-lausanne-2\/conferences-2020\/","title":{"rendered":"Conf\u00e9rences 2020"},"content":{"rendered":"

Mercredi 4 mars 2020, 18h30, salle Unith\u00e8que 4215\u00a0<\/strong><\/h2>\n

Debashree Mukherjee (Columbia University) : From\u00a0Dispositif\u00a0to Ecology: Writing a History of Film Production in Colonial India<\/em><\/strong><\/h2>\n

Can we think of the foundational concerns of film studies \u2013 subjects, meaning, image, ideology \u2013 from the site of film production? In this talk I discuss some of the methodological and conceptual choices I made while writing a book about cinema as material practice. Specifically, I discuss the turn from the analytic of\u00a0dispositif\u00a0towards ecology through a set of archival case studies. In\u00a0Bombay Hustle: Making Movies in a Colonial City<\/em>, I present a practitioner\u2019s eye view of cinema in 1930s India. I explore what it means to do film work, and how a history of production practices is central to understanding cinema\u2019s imbrications with modernity. Material practices of filmmaking \u2013 from screenwriting to lighting to holding a boom microphone steady – mediated the meanings of modernity, even freedom, as individual cine-workers reimagined the self through categories of technology, specialization, art, and labor. Inspired by the work of environmental humanities on one hand, and process philosophy on the other, I approach\u00a0the landscape of film production in the 1930s as\u00a0a\u00a0cine-ecology, a continual flux of multiactant relations of becoming.\u00a0Cine-ecologies emerge out of the energetic entanglement of practices, symbols, infrastructures, ideologies, actors, and climates that swirl around the film image in locations where filmmaking and film consumption are prominent aspects of everyday life.\u00a0Cinema, which has always been a transnational force, therefore comes to mean very different things as it settles into a specific cine-ecology in Istanbul or Sydney.\u00a0A tropical place under colonial rule, a modernizing city that becomes the site of a talkie industry, Bombay with all its peculiarities of infrastructure, weather, and social politics \u2013 these are the contours of the talkie cine-ecology that I am interested in.<\/p>\n

 <\/p>\n

Mercredi 22 avril 2020, 18h30, salle Unith\u00e8que 4215\u00a0<\/strong><\/h2>\n

Estelle Doudet (Universit\u00e9 de Lausanne) : Arch\u00e9ologies m\u00e9di\u00e9vales du t\u00e9l\u00e9visuel : penser les dispositifs avant l\u2019\u00e8re des machines<\/em><\/strong><\/h2>\n

Penser aujourd\u2019hui les dispositifs de vision et d\u2019audition signifie souvent se pencher sur les relations m\u00e9diatiques caract\u00e9ristiques de l\u2019\u00e8re des machines (XIXe-XXIe\u00a0s.)\u00a0: enregistrements, projections, algorithmes, etc. L\u2019arch\u00e9ologie des media, une approche encore \u00e9mergente dans les pays francophones, invite toutefois \u00e0 explorer plus profond\u00e9ment les \u00e9poques \u00e9loign\u00e9es de notre \u00e2ge technologique. Ainsi, en Europe, du XIIIe\u00a0au XVIe\u00a0si\u00e8cle, se sont d\u00e9ploy\u00e9es des th\u00e9ories et des pratiques du t\u00e9l\u00e9visuel \u2013 la capacit\u00e9 de voir ce qui est situ\u00e9 loin du regard humain gr\u00e2ce \u00e0 divers supports \u2013 au croisement de la science optique, de la pens\u00e9e religieuse et des innovations artistiques. Est-il pertinent d\u2019approcher cette ancienne culture par la notion\u00a0a priori\u00a0anachronique de \u00ab\u00a0dispositif\u00a0\u00bb\u00a0? Quels nouveaux \u00e9clairages sur nos usages contemporains pourrait nous apporter l\u2019\u00e9tude d\u2019un temps o\u00f9 le visible \u00e9tait consid\u00e9r\u00e9 comme une travers\u00e9e vers l\u2019invisible et o\u00f9 l\u2019image oscillait entre surface de projection et performance d\u2019une pr\u00e9sence\u00a0?<\/p>\n

\u00a0<\/strong><\/p>\n

Mercredi 20 mai 2020, 18h30, salle Unith\u00e8que 4215<\/h2>\n

Weihong Bao (University of California, Berkeley) : Background Matters: Set Design as <\/em>Dispositif<\/strong><\/h2>\n

Although the dispositif\u00a0<\/em>is often associated with a technical device, applying it to set design poses a series of interesting problems: what constitutes the matter and object of set design? How do we account for its technology and principles of operation? Where do we draw the line between human and environment as the agent, matter, and object of set design?<\/p>\n

The challenges and problems posed by set design returns us to a key notion of the dispositif\u00a0<\/em>as configuration of heterogeneous elements subject to strategic reordering. Yet instead of attributing its variable arrangement to the genius of the technological apparatus or system, I situate my inquiry of the dispositif\u00a0<\/em>at the intersection of discursive entanglement, aesthetic practice, and technological operation. I will navigate my inquiry through the historical co-evolvement of set design and environmental thinking in early twentieth century China.<\/p>\n

My paper will first look at how \u201cmatter\u201d was reconceived when huangjing\u00a0<\/em>(environment) emerged as an epistemological dominant in China in the 1910s and 20s when biology, psychology, and sociology frequently intersect. A renewed notion of matter as mutable and vital, I suggest, rendered environment with an ontological uncertainty that disrupts the distinction between self and other, inside and outside.<\/p>\n

This conception of environment as vibrant matter encompassing the physical, spiritual, psychological, and socio-historical, I argue, converged with the privileging of mood and atmosphere in set design thinking which emerged alongside \u201cenvironmental\u201d discourses in China. The second part of my paper thus turns from the episteme\u00a0<\/em>of \u201cenvironment\u201d to its dispositif<\/em>, by looking at set design theory and practice as laboratories of environment that test, execute, and supplement emerging conceptions. I will focus on set design theories that move from general concerns on huanjing\u00a0<\/em>(environment) to more specific considerations of beijing\u00a0<\/em>(background), qifen\u00a0<\/em>(atmosphere), and qingdiao\u00a0<\/em>(mood), binding the material and technological considerations of set design to the engineering of affect, an ephemeral but tangible air with geopolitical implications during the WWII.<\/p>\n

Through this inquiry of set design as dispositif<\/em>, I propose an environmental notion of the medium that serves to reconnect technics and aesthetics, object and agent, mind and environment.<\/p>\n

 <\/p>\n

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

Mercredi 4 mars 2020, 18h30, salle Unith\u00e8que 4215\u00a0 Debashree Mukherjee (Columbia University) : From\u00a0Dispositif\u00a0to Ecology: Writing a History of Film Production in Colonial India Can we think of the foundational … <\/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-1283","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1283","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=1283"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1283\/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=1283"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}