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