IMT Institutional Repository: No conditions. Results ordered -Date Deposited. 2024-03-29T12:39:47ZEPrintshttp://eprints.imtlucca.it/images/logowhite.pnghttp://eprints.imtlucca.it/2017-11-13T16:16:15Z2017-11-13T16:16:15Zhttp://eprints.imtlucca.it/id/eprint/3826This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38262017-11-13T16:16:15ZMechanical sensations. Étienne-Jules Marey, Charles Frémont and the issue of automatismLinda Bertellilinda.bertelli@imtlucca.it2017-11-09T11:15:59Z2017-11-09T11:15:59Zhttp://eprints.imtlucca.it/id/eprint/3825This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38252017-11-09T11:15:59ZGli artisti della vita meccanica. Étienne-Jules Marey, Charles Frémont e il problema dell’automatismoIl problema dell’automatismo psicofisico, di cui andremo a tracciare alcuni contorni in merito alla sua relazione con l’istantanea fotografica, emerge da una costellazione scientifica e culturale che segna in profondità il XIX secolo, caratterizzata come fu da un acceso dibattito internazionale che chiamò in causa lo statuto e gli avanzamenti della neurofisiologia, della psicofisiologia e della psicologia sperimentale, quest’ultima all’epoca ai suoi albori. Più precisamente, il problema dell’automatismo e delle modalità della sua corretta registrazione scientifica ne rappresenta uno degli sviluppi e una delle conseguenze, la cui portata, a nostro giudizio, dev’essere ancora adeguatamente considerata sotto il profilo epistemologico e storico-scientifico.
L’ipotesi che ci guida in questo lavoro concerne l’esame della fun-zione euristica svolta dall’istantanea fotografica nella cronofotografia di Étienne-Jules Marey (1830-1904) e Charles Frémont (1855-1930) come esito di quel dibattito e, al contempo, come compimento di una svolta epistemologica, da tempo incubata, che da esso si produsse.Linda Bertellilinda.bertelli@imtlucca.it2017-09-28T15:25:17Z2017-09-28T15:25:17Zhttp://eprints.imtlucca.it/id/eprint/3815This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38152017-09-28T15:25:17Z« Le thème est l’authenticité ». Une analyse de Carla Lonzi à travers le processus d’écriture de Vai pure. Dialogo con Pietro ConsagraPremières lignes
« La force de l’homme se trouve dans son identification avec la culture, la nôtre dans son refus. » Ainsi s’exprime Carla Lonzi en 1970, dans le Manifesto di Rivolta Femminile, écrit inaugural d’un des premiers et des plus influents groupes du néo-féminisme italien (fondé par Carla Lonzi, Carla Accardi et Elvira Banotti), développant de façon si irrévocable, lapidaire et « flamboyante » sa propre critique féministe touchant la politique, la société italienne et ses institutions, mais aussi la culture, l'histoire et la philosophie occidentales
Plan de l'article:
Adesso vai pure
L’enregistrement
L’écriture de Vai pure comme écriture métonymique
Réflexions conclusivesLinda Bertellilinda.bertelli@imtlucca.itMarta Equi Pierazzinimarta.equipierazzini@imtlucca.it2017-09-26T08:08:54Z2017-09-26T08:08:54Zhttp://eprints.imtlucca.it/id/eprint/3803This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38032017-09-26T08:08:54ZTowards an Economy of the Body. Fourteenth International Domitor Conference "Viscera, Skin, and Physical Form:
Corporeality and Early Cinema", Stockholm, Sweden 14-17 June 2016.This paper focuses on two main cases: Étienne-Jules Marey (1830-1904) and the Gilbreths (Frank B. Gilbreth, 1868-1924 and Lillian M. Gilbreth, 1878-1972), and their respective studies of movement.
More specifically, it investigates Marey’s experiments with fix plate chronophotography (1883-1886) focused on human locomotion, and Frank and Lillian Gilbreth’s work on the cyclograph (as expounded in "Fatigue Study" and "Applied Motion Study").
Firstly, the paper analyzes the three different procedural protocols of these experiments in order to identify their similarities and differences and to understand what, if any, experimental model they give rise to. It scrutinizes in particular: a) the position of the scientist’s body in the experimental field and its role in theory (the training of the observer’s/scientist’s body); b) the preparation of the body of the subjects to be analyzed (before the experiments) and the way these bodies were posed in the experimental field (during the experiments); c) the status of the camera’s mechanical body.
Secondly and finally, the paper aims to show how all these regulatory norms serve and enable a certain economy of the body in two interconnected senses: a) economy as a form of reduction. The paper analyzes different ways the body inside the experimental field is isolated/deleted depending on whether it is the scientist’s body, the subject’s body under analysis or the body of the camera; b) economy as a system of efficiency. Beginning from M. Mauss’s notion of “techniques du corps” as a general theoretical framework as well as specific examples of disciplining effects on individuals, this paper seeks to outline the historical role played by the abovementioned studies of the body in developing efficiency (and its relationship with work) as an object of knowledge.Linda Bertellilinda.bertelli@imtlucca.it2017-07-14T12:52:48Z2017-09-26T09:14:30Zhttp://eprints.imtlucca.it/id/eprint/3718This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/37182017-07-14T12:52:48ZBody Without Senses: The Scientific Management by Frank B. and Lillian GilbrethThis paper focuses on a single case-study: the early photofilmic works by Frank (1868-1924) and Lillian (1878-1972) Gilbreth that were aimed at the study of workers’ motion in view of their measurement and standardization.
More specifically, the paper investigates Gilbreths’ work on the cyclograph, as expounded in Fatigue Study (1916) and Applied Motion Study (1917).
Firstly, it analyzes the procedural protocols of these experiments in order to understand what, if any, experimental model they give rise to. It scrutinizes in particular: a) the role of the camera’s mechanical body (multiple references to the camera as device with mechanical senses will be studied), b) the position of the scientist’s body in the experimental field and its role in the costruction of the theory (the training of the observer’s/scientist’s senses), c) the preparation of the body of the subjects to be analyzed (before the experiments) and the way his/her senses were taken into account in the experimental field (during the experiments). .Secondly and consequently, the paper aims to show how all these regulatory norms serve and enable a specific economy of the body in two interconnected senses: a) economy as a form of reduction. The paper analyzes different ways the body inside the experimental field is isolated/deleted depending on whether it is the scientist’s body, the subject’s body under analysis or the body of the camera. It will lead to a first meaning of absence of senses, that is linked to an automatization of them. b) economy as a system of efficiency. Beginning from Marcel Mauss’s notion of “techniques du corps” as a general theoretical framework as well as specific examples of disciplining effects on individuals, this paper seeks to outline the historical role played by the abovementioned studies of the body in developing a specific concept of efficiency and its relationship with work. It will lead to a second meaning of absence of senses, that it is intertwined to the first and linked to the relationships between the processes of depersonalization and the processes of the spectacle.
Finally, some comparisons with other earlier experimental protocols (especially with the works by Étienne-Jules Marey and Eadweard Muybridge) and an analysis of the circulation that the pictures by the Gilbreths had in the popular media will be briefly traced.Linda Bertellilinda.bertelli@imtlucca.it2016-11-28T16:31:33Z2017-09-26T08:08:44Zhttp://eprints.imtlucca.it/id/eprint/3602This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/36022016-11-28T16:31:33ZOsservazioni sull’inconscio otticoThis essay is based on an analysis of the notion of “Optical Unconscious” by Walter Benjamin.
It seeks to present an interpretation of this notion in connection with the historical relationship between the birth of cinematic technology on the one hand and research conducted during the same period in the field of physiology investigating human and animal movement on the other hand.
To this end the essay analyzes the following three concepts: (a) alienation, (b) automatism and (c) invisibility.
(a) In "Minutiae, Close-up, Microanalysis", Carlo Ginzburg formulates an analogy to describe the “optical unconscious” and juxtaposes it with a page from Marcel Proust in which the alien gaze of the narrator parallels the imperturbable lens of a camera and he experiences the physiognomy of the objects in their anonymous being.
Through reference to this passage, I seek to prove that the meaning of the photographic image does not reside in its ability to reflect its object as something real and familiar, but rather in its ability to alienate this object and make it foreign to the observer.
(b) This paper will link this impersonality of the subject to the concept of automatism and analyze this link through William K.L. Dickson’s "Kinetoscopic Record of a Sneeze" (1894) as an example of the many images of the time that depicted an involuntary movement on the part of the represented subject, namely an action or series of actions beyond the subject’s control.
I assert that this idea of displaying the ordinariness of an involuntary action constitutes a specificity that both photographic and cinematographic technology are based on.
(c) The comprehensive meaning of the represented subject therefore depends on the device, otherwise it would have been doomed to invisibility. In order to clarify what kind of invisibility is at stake here, my study takes a step back to examine the historical origins of the photo-cinematographic tools used in experimental physiology and the role that representation came to have (the idea of the autonomy of the representation).
Finally, in order to clarify these hypotheses, this essay analyzes the case of the French physiologist Étienne-Jules Marey.
By studying physiological theories on motion at the end of XIX Century, the article seeks to bring the relationship between photography and cinema back to its historical origins and highlight moments of intersection.Linda Bertellilinda.bertelli@imtlucca.it2016-04-19T08:05:08Z2017-09-26T09:15:12Zhttp://eprints.imtlucca.it/id/eprint/3383This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/33832016-04-19T08:05:08ZImages, Invisibility, and Motion: Brief Essay on Chronophotography, Cinema, and Optical UnconsciousThis paper is based on an analysis of the notion of “Optical Unconscious” by Walter Benjamin.
It seeks to present an interpretation of this notion in connection with the historical relationship between the birth of cinematic technology on the one hand and, and research conducted during the same period in the field of physiology investigating human and animal movement on the other hand.
To this end I will analyze the following three concepts: (a) alienation, (b) automatism and (c) invisibility.
(a) In Minutiae, Close-up, Microanalysis, Carlo Ginzburg formulates an analogy to describe the “optical unconscious” and juxtaposes it with a page from Marcel Proust in which the alien gaze of the narrator parallels the imperturbable lens of a camera and he experiences the physiognomy of the objects in their anonymous being.
Through reference to this passage, I seek to prove that the meaning of the photographic image does not reside in its ability to reflect its object as something real and familiar, but rather in its ability to alienate this object and make it foreign to the observer.
(b) This paper will link this impersonality of the subject to the concept of automatism and analyze this link through William K.L. Dickson’s Kinetoscopic Record of a Sneeze (1894) as an example of the many images of the time that depicted an involuntary movement on the part of the represented subject, namely an action or series of actions beyond the subject’s control.
I assert that this idea of displaying the ordinariness of an involuntary action constitutes a specificity that both photographic and cinematographic technology are based on.
(c) The comprehensive meaning of the represented subject therefore depends on the device, otherwise it would have been doomed to invisibility. In order to clarify what kind of invisibility is at stake here, my study will take a step back to examine the historical origins of the photo-cinematographic tools used in experimental physiology and the role that representation came to have (the idea of the autonomy of the representation).
Finally, in order to clarify these hypotheses, I shall analyze the case of the French physiologist Étienne-Jules Marey.
By studying physiological theories on motion at the end of XIX Century, this paper will bring the relationship between photography and cinema back to its historical origins and highlight moments of intersection.Linda Bertellilinda.bertelli@imtlucca.it2016-03-21T08:42:57Z2017-09-26T09:15:52Zhttp://eprints.imtlucca.it/id/eprint/3242This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/32422016-03-21T08:42:57ZTowards an Economy of the BodyThis paper focuses on three main cases: Étienne-Jules Marey (1830-1904), Georges Demeny (1850-1917) and the Gilbreths (Frank B. Gilbreth, 1868-1924 and Lillian M. Gilbreth, 1878-1972), and their respective studies of movement.
More specifically, it investigates Marey’s and Demeny’s experiments with fix plate chronophotography (1883-1886) focused on human locomotion, Demeny’s research with chronophotography on sensitive strip and celluloid film studying gymnastics (1888-1892), and Frank and Lillian Gilbreth’s work on the cyclograph (as expounded in Fatigue Study and Applied Motion Study).
Firstly, the paper analyzes the three different procedural protocols of these experiments in order to identify their similarities and differences and to understand what, if any, experimental model they give rise to. It scrutinizes in particular: a) the position of the scientist’s body in the experimental field and its role in theory (the training of the observer’s/scientist’s body); b) the preparation of the body of the subjects to be analyzed (before the experiments) and the way these bodies were posed in the experimental field (during the experiments); c) the status of the camera’s mechanical body.
Secondly and finally, the paper aims to show how all these regulatory norms serve and enable a certain economy of the body in two interconnected senses: a) economy as a form of reduction. The paper analyzes different ways the body inside the experimental field is isolated/deleted depending on whether it is the scientist’s body, the subject’s body under analysis or the body of the camera; b) economy as a system of efficiency. Beginning from M. Mauss’s notion of “techniques du corps” as a general theoretical framework as well as specific examples of disciplining effects on individuals (See Phéline, Christian. L'image accusatrice. Laplume, France: Association de critique contemporaine en photographie, 1985), this paper seeks to outline the historical role played by the abovementioned studies of the body in developing efficiency (and its relationship with work) as an object of knowledge.Linda Bertellilinda.bertelli@imtlucca.it2015-04-09T10:41:39Z2015-04-09T10:41:39Zhttp://eprints.imtlucca.it/id/eprint/2659This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/26592015-04-09T10:41:39ZThe Cinematographical Illusion: Mechanism, Movement and Memory in Henri Bergson's CinematographAlthough this paper also aims to take into account Gilles Deleuze’s study of the Bergsonian “mechanistic illusion” and “cinematographical mechanism of thought” - notions that Henri Bergson advanced in Creative Evolution (1907) – its core lies focus rather in using Bergson’s philosophy (and the theory of memory in particular) to analyze the origin of these phrases and the ways they are used as well as the implications they give rise to.
First, the paper will seek to show that, in order to define the concept of reality regarding which the cinematographical mechanism involves the mechanic illusion, it is necessary to interpret the passages of Creative Evolution under analysis as a description of cinema in terms of technological apparatus.
Drawing on several recent studies devoted to Bergson’s conception of cinema (M. Tortajada) as well as now-classic analyses devoted to the history of the devices of perception developed between the nineteenth and twentieth century (J. Crary), the paper will thus focus on exploring the context in which Bergson’s cinematographical apparatus intervenes, including this apparatus in the history of the optical devices that were used to both analyze and represent human and animal movements (particular attention will be paid to the connection with Étienne-Jules Marey’s chronophotography).
Second, through the analysis of selections from both Creative Evolution and other of Bergson’s works, this paper aims to identify the steps through which, according to Bergson, the “cinematographical mechanism” becomes an operation model to describe thought.
Finally, this paper will seek to analyze the connection between Bergson’s critique of the cinematographical mechanism of thought and his theory about motion and memory.
In the final part of the presentation I will therefore address a different meaning of cinematographic images which, however, emerges from Bergson’s pages; what appears on the screen when Bergson briefly describes his experience as a movie goer (see M. Georges-Michel, En jardinant avec Bergson) is a series of images of a past that manifests in the present without any mediation, and therefore it presents itself as a series of pure images of memory.Linda Bertellilinda.bertelli@imtlucca.it2015-02-25T08:11:42Z2015-02-25T08:11:42Zhttp://eprints.imtlucca.it/id/eprint/2623This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/26232015-02-25T08:11:42ZÉtienne-Jules Marey: Iconographic Migration and the Independence of the ImageFirstly, this paper seeks to trace the trajectory of certain specific practices of iconographic migration in the work of French physiologist Étienne-Jules Marey. In particular, it analyzes the graphic treatment applied to chronophotographic images to prepare them for inclusion in Marey’s texts.
This process of graphicalizing photographic images so they could be included in printed texts, which was necessary as, at that time, it represented the only means of reproducing photographic images together with text, was an obligatory step that also granted the image increased readability and meaning: through this process of reformulation, the image gained independence and a life of its own separate from the corporeality of the subject being represented, and it was this separation that endowed the image with its character of objectivity.
The paper will thus analyze the foundations of this independence of the image, examining what kind of event these images represented and, concurrently, what statute of vision these images contributed to establishing. To this end, the paper seeks to locate the techniques used to produce these images within a history of practices of educating, training and disciplining the eye of the observer. It will thus focus on the nexus where techniques of the observer and practices of objectivity intersect: efforts to force the drawing hand to mimic the precision of a millimeter-scaled grid or to induce the eye to observe the movements of a wing in flight were aimed at both producing an image that would be tantamount to objective proof of the hypothesis in question and, at the same time, training the observer as a specific kind of the scientific Self [See L. Daston and P. Galison, Objectivity, New York: Zone Books, 2007, p. 38].
Lastly, this paper seeks to show how this process of transforming the photographic image into an illustration, a direct legacy of the graphic method, is wholly analogous to the process used in the same period to construct iconographic categories and traditions in both the field of scientific anthropology, clinical neurology and criminal typing, as well as the sphere of publishing and popular illustrations. The paper will thus discuss the relationship between the pathways and modes characterizing the image’s movement across multiple media and the construction of the idea of “type”.
Linda Bertellilinda.bertelli@imtlucca.it2012-06-28T13:36:24Z2013-04-16T14:20:56Zhttp://eprints.imtlucca.it/id/eprint/1289This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/12892012-06-28T13:36:24ZModern Narcissus: the lingering reflections of myth in modern artWhy has myth continued to fascinate modern artists, and why the myth of Narcissus, with its modern association with narcissism? This article considers the relationship between the Narcissus myth and the lineage of modern art that runs from Symbolism to surrealism through the polymorphous prism of the Greco-Roman Pantheon to which Narcissus belongs. The article offers an interpretation of the role of mythology in modern art that moves beyond psychoanalysis to incorporate the longer span of the art-historical tradition. Addressing issues of aesthetics, gender and sexuality, the following account highlights Narcissus‟s double nature as an erotic myth that comprises both identity formation and intersubjectivity, as enacted in the field of representation. The myths associated with Narcissus in the history of Western art will help us reconsider his role as a powerful figure capable to activate that slippage between word and image, identity and sociability, representation and reality which was celebrated by the Symbolists and formed the centre of the surrealists‟ social-aesthetic project.Silvia Loretisilvia.loreti@imtlucca.it2012-05-18T10:24:14Z2012-05-18T10:24:14Zhttp://eprints.imtlucca.it/id/eprint/1277This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/12772012-05-18T10:24:14ZLe Diable est un bon connaisseur de l'art de séduire par les images. Entretien avec Marco BelpolitiLinda Bertellilinda.bertelli@imtlucca.it2012-05-17T09:38:06Z2014-02-14T13:36:22Zhttp://eprints.imtlucca.it/id/eprint/1276This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/12762012-05-17T09:38:06ZImmagini senza quadro: esperienza e rappresentazione nell'opera di Henri BergsonChe cosa distingue un'immagine da una rappresentazione? In un'epoca dominata dal potere delle immagini, questo classico problema della filosofia non smette di riproporsi. Henri Bergson, uno dei pensatori che maggiormente hanno segnato il pensiero e la cultura contemporanei, ne ha offerto un’interpretazione decisiva. Affrontando la questione nodale del rapporto tra immagine e rappresentazione, Bergson postula che dell’immagine debbano essere oscurati alcuni lati, alcuni aspetti, affinché essa possa essere convertita in rappresentazione. Se le immagini si presentano anzitutto senza quadro, dobbiamo invece riconoscere che c0è rappresentazione quando ciò che percepiamo può emergere dallo sfondo in forma di quadro. Così, per ritrovare l’immagine al di là della rappresentazione, Bergson si trova ad indagare quest’ultima, ricorrendo ai concerti che lo hano reso celebre: la materia, la percezione, la memoria, la durata. L’originalità del suo percorso e la forza delle sue idee filosofiche emergono ulteriormente nel confronto con alcuni autori che, commentandolo, si sono imposti nel dibattito del XX secolo, dalle posizioni più critiche – come quella di Sartre – alle posizioni più vicine – come quelle di Merleau-Ponty e di Deleuze – che in questo saggio sono riprese e ricostruite alla luce di un’eredità di pensiero ancora vitale e attualeLinda Bertellilinda.bertelli@imtlucca.it