10 January 2023
Archaeology of immersion

Barbara Le Maître, Natacha Pernac, Jennifer Verraes

12 June 2024
2023/24 /ɪˈməːʃən/
111
Faraway, So Close! Bridging distances between Anthropological Philosophy and Media Anthropology

Martino Quadrato

21 May 2024
2023/24 /ɪˈməːʃən/
111
Difficult Heritage: disputed figures in contemporary memorial museums

Giulia Bertolazzi

21 May 2024
2023/24 /ɪˈməːʃən/
111
“Antimonumenta”: artistic practice in feminist Mexico

Francesca Romana Gregori

9 May 2024
2023/24 /ɪˈməːʃən/
111
Death and Virtual Mourning. The “Return of the Dead” in Digital Afterlife

Maria Serafini

7 May 2024
2023/24 /ɪˈməːʃən/
111
Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne

Katia Mazzucco

16 April 2024
2023/24 /ɪˈməːʃən/
111
Education meets Virtual Reality. Reasoning on learning outcomes, inclusion and didactic scenarios

Ilaria Terrenghi

4 April 2024
2023/24 /ɪˈməːʃən/
111
Rape or “rape”? Virtual violence and the somatechnical body

Pietro Conte

26 March 2024
2023/24 /ɪˈməːʃən/
111
Chiromorphisms. The technical genesis of modern disability

Alessandro Costella

15 February 2024
2023/24 /ɪˈməːʃən/
111
The Obscene Device. Archaeology of Immersive Pornographies

Roberto Malaspina

1 February 2024
2023/24 /ɪˈməːʃən/
111
Techniques of Enchantment. Magic and Contemporary Technology

Sofia Pirandello

25 January 2024
2023/24 /ɪˈməːʃən/
111
Alternative Worlds – VR without Headsets

Margherita Fontana

11 January 2024
2023/24 /ɪˈməːʃən/
111
A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

21 December 2023
2023/24 /ɪˈməːʃən/
111
FEMINIST HORROR THEORY – Filmic Forms and Female Identity: Rewriting in the Key of Gender

Rossana Galimi

5 December 2023
2023/24 /ɪˈməːʃən/
111
From Photography to Virtual Reality and back again. A conversation with Francesco Jodice

Francesco Jodice

20 November 2023
2023/24 /ɪˈməːʃən/
111
Immersed in science

Ilaria Ampollini

9 November 2023
2023/24 /ɪˈməːʃən/
111
The burning gaze. An aesthetics of shame in the age of the virtual

Federica Cavaletti

2 November 2023
2023/24 /ɪˈməːʃən/
111
Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti

12 October 2023
2023/24 /ɪˈməːʃən/
111
Virtualizing Spaces: Immersive and Emersive Images from Home to City.

Fabrizia Bandi

28 September 2023
2022/23 Practices
108
LabSim: a fully featured laboratory simulator for innovative teaching of analytical chemistry
27 September 2023
2022/23 Multisensoriality
104
Immersive Rhythms, Dismersive Images: On Music Video’s Affective Atmosphere

Tomáš Jirsa

research: Seminar

2022/23 Multisensoriality
104

Archaeology of immersion

Barbara Le Maître, Natacha Pernac, Jennifer Verraes

Biography

Barbara Le Maître

Barbara Le Maître is full professor of film studies at the University of Paris Nanterre. She has published Entre film et photographie. Essai sur l'empreinte (PUV, 2004), Zombie, une fable anthropologique (PUPO, 2015), Image versus médium featuring Mark Lewis (PUN, 2022); and co-edited several collective works including: Preserving and Exhibiting Media Art (with J. Noordegraaf, C. Saba, V. Hediger, AUP, 2013), All That the Sky Allows in Film, Photography, Painting and Video (with B. N Aboudrar, PSN, 2015), Cinema & Cie. International Film Studies Journal, Vol. XV, No. 25: 'Overlapping Images' (with Luisella Farinotti and Barbara Grespi, 2016), Art-historical Moments in Cinema (with B.N. Aboudrar, J. Jibokji and J. Martin, Aracne, 2020), and Checkers, Grids, Cubes. De la théorie de l'art au cinéma (forthcoming, PUR, 2023). She is interested in the relationship between cinema and the museum; in the figure of the zombie; in imprints and fossil forms in cinema; in Mark Lewis's "delocalised" films; more broadly, in the history of forms through interposed fictions.

Natacha Pernac

Natacha Pernac is associate professor in modern art history at the University of Paris Nanterre. She devotes her research to Italian Renaissance painting, more particularly along the following lines: the history of representations of the body, narration in domestic settings, and the analysis of artistic interactions. Her publications include the Bescherelle de l'Histoire de l'Art, Paris, Hachette, 2015 (with Guitemie Maldonado and Marie-Pauline Martin), and La peinture représentée, Paris, Hazan, 2013 (with Robert Bared). She also co-edited Museoscopies. Fictions du musée au cinéma (with Joséphine Jibokji, Barbara Le Maître and Jennifer Verraes, Presses Universitaires de Nanterre, 2018). Director of Studies at the Ecole du Louvre between 2016 and 2020, she is also interested in museology and its history.

Jennifer Verraes

Jennifer Verraes is associate professor in film studies at the University of Paris 8 Vincennes - Saint-Denis. Her work aims to bring to light the links between the history of cinema, technology and the humanities in the 20th and 21st centuries, in particular through the history of listening, speech and its recording in cinema. She has co-edited two books on cinema and the museographic imagination, our view of heritage and our (collective, fetishistic) relationship to the work of art: Museoscopies. Fictions du musée au cinéma (with Barbara Le Maître, Natacha Pernac and Joséphine Jibokji, Presses Universitaires de Nanterre, 2018) and Cinéma muséum. Le musée d'après le cinéma (with Barbara Le Maître, Presses Universitaires de Vincennes, 2013).

research: seminar

Archaeology of immersion

Barbara Le Maître, Natacha Pernac, Jennifer Verraes
10 January 2023
16:00
18:00

Sala Malliani

Via Festa del Perdono, 7

Archaeology of immersion
Barbara Le Maître, Natacha Pernac, Jennifer Verraes
Sala Malliani
Via Festa del Perdono, 7
20230110
16:00
18:00