Deformation of bodies and reinvention of sensations

"Filming the Sensation" seminar

Invited by Anatoli Vlassov, Priscilla Guy will be part of the Filming the Sensation webinar organized by the Cinema team of the ACTE Institute (Sorbonne School of the Arts). She will present the segment “Deformation of bodies and reinvention of sensations through choreographic editing practices”. Don’t miss it Thursday, June 3 at 11:00 a.m. – Montreal time (5:00 p.m. – Paris time).

General presentation
Filming the sensation is to be understood in a broad sense.
Filming concerns photography as well as cinema, video and other new technologies, starting with the Internet.

Can we film the sensation? Can one, by some process, print on the support chosen for an audiovisual recording impressions perceived by the organs of the senses and the psychological
states which follow? This question supposedly calls for philosophical, psychological, psychoanalytical, etc. points of view, which consider the sensation in its seat, the human body.

But it can also be examined from a semiotic, cognitivist, “textual” analysis perspective, etc., in order to evaluate the capacity of this or that medium to capture and/or diffuse sensation. It is
relevant to look for attestations or traces of the involvement of sensations in the visual and audiovisual works themselves, whether they are fictional or documentary. The audiovisual
documents that reproduce performances, claiming more or less the status of work, activating more or less the creative interaction between the performance and its filming, constitute particularly notable objects with regard to this problematic.

It is also a question of bringing together the poietic and aesthetic perspectives, the making and the sensibility (according to Paul Valéry’s irreplaceable distinction) by asking in which way the
poietics of the audiovisual productions captures and/or modifies the sensation. This aesthetic question extends also in what Edmond Couchot called the technesthesics: the techniques of
reproduction and the new technologies influence the sensibility by transforming the captured sensations according to the specific technological conditions that define them.

One can, finally, understand the sensational in “sensation”, something that attracts the attention, that stimulates admiration or amazement, by its exceptional character, something that
makes sensation. One can play then in the in-between which connects or separates the small affections of the senses and the remarkable events.

Full program

Thursday, May 27 (5 p.m. – 7 p.m.)
Federico Pierotti. Filming color: the chromatic turn in cinema

Thursday, June 3 (5 p.m. to 7 p.m. – Paris time)
Priscilla Guy. Deformation of bodies and reinvention of sensations through choreographic editing practices

Thursday, June 10 (5 p.m. to 7 p.m. – Paris time)
Rodolphe Olcèse. Dynamics of sensation: visual alterations and epiphany of the visible (Jonas Mekas, Rose Lowder, Carole Nosella)

Thursday, June 17 (5 p.m. to 7 p.m. – Paris time)
Lourdes Monterrubio. The sensation in the film-essay: filming it, creating it, reflecting it

Thursday, June 24 (5 p.m. to 7 p.m. – Paris time)
Barbara Fougère. Making the experience of deafness sensitive

Thursday July 1 (5 p.m. to 7 p.m. – Paris time)
Marisa Hayes. Sensitive somatic camera: widening the choreographic and perceptive field

ZOOM-Séminaire de l’équipe Cinéma de l’Institut ACTE

Université Paris 1 Panthéon Sorbonne – École des arts de la Sorbonne
École doctorale Arts Plastiques, Esthétique et Sciences de l’art

sous la direction de
Dominique CHATEAU, Professeur émérite à l’Université Paris 1
et José MOURE, Professeur à l’Université Paris 1, Directeur de l’Institut ACTE

Université de Groningen, Pays-Bas (Annie VAN DEN OEVER)
Université Laval à Québec (Jean-Pierre SIROIS-TRAHAN)

avec le soutien de
Retiina International (François SOULAGES, Professeur à l’Université Paris VIII)
Center for Practical Philosophy Stasis (Yoel REGEV, Professeur à l’Université Européenne de Saint-Pétersbourg)
Regards Hybrides (Priscilla GUY, artiste, chercheuse et commissaire, Montréal)
Association/revue À bras le corps (Rodolphe OLCESE, Maître de conférences, Université Jean Monnet Saint-Étienne)
Repères. Cahier de danse, édité par La Briqueterie (Marisa HAYES, Centre de Développement Chorégraphique National du Val-de-Marne)

4 axes du séminaire
1. Analyses filmiques (Film analysis), sous la responsabilité de Sarah LEPERCHEY, Maître de conférence à l’Université Paris 1, et José MOURE.
2. Les premiers temps du cinéma (The early days of cinema), sous la responsabilité de Jean-Pierre SIROISTRAHAN, Professeur à l’Université Laval.
3. Technesthésique (Technesthesics), sous la responsabilité d’Annie VAN DEN OEVER, Professeure à l’Université de Groningen.
4. Film-performance, ciné-danse et autres relations intermédiales (Film-performance, film-dance and other intermedia relations), sous la responsabilité d’Anatoli VLASSOV, artiste, doctorant en arts plastiques, membre de l’équipe Arts & Flux de l’Institut ACTE.