The Voice of the Event or the Emerging Technique of analysis of Aesthetic Event, ma conférence à ATC

Du 14 au 18 a lieu la conférence internationale AFFECT THEORY CONFERENCE, Lancaster, Pensylvanie.

http://www.affecttheorymu.com

Cette conférence internationale réunit des chercheurs à la fine pointe de la question de l’affect, le thème central de ma recherche postdoctorale. Uniquement 200 des 600 propositions reçues ont été acceptées. Il y aura également des panels-conférences des principaux théoriciens à l’origine du « affective turn » en 1995 par le « cultural studies », dont mon superviseur Brian Massumi.

Theme : Affect et 19 sous-thèmes

http://www.affecttheorymu.com/streams/

Sous-thème de ma conférence :

Stream 15- Stream #15 – Practising Affect: Exercises, Techniques, Methodologies

PANELS: SATURDAY OCT 17 – 1:45 until 3:25 pm
Saturday 3-12: Affective Methodologies (S15) – Lower Level 1-02

Program http://www.affecttheorymu.com/wp-content/uploads/2015/01/affectWTF-preliminary-schedule-.pdf

Titre de ma conférence acceptée ATC

The Voice of the Event or the Emerging Technique of analysis of Aesthetic Event

By Louise Boisclair, Ph.D.

This presentation analyses a dramatic event from which emerges a technique of research and analysis useful for the analysis of immersive interactive experience of the affect. It deals with Presence, Capacities to affect and be affected (Spinoza, Massumi), Missing half second (Libbet), Magnification, Direct Recognition (Whitehead) and Experiential Matrix (Stern). This content will be developed as the last chapter of my book (2016) on my postdoctoral research untitled Affect et expérience esthétique. De l’immersion interactive à la voix de l’événement.

Here is the abstract:

How the self-creative force "Relax" deviates or absorbs the destructive forces in a Fall

The living body, in a state of alertness which redirects attention, reveals unique capabilities to be affected and to affect (Spinoza, Massumi), active and reactive forces (Nietzsche, Deleuze) and accounts for a direct and creative self-producing activity. Then, the missing half second (Libet 1985) is the scene of a perceptual magnification.

With the immanent order "Relax", a fall at the corner of an icy street during a snowstorm not only does not cause injury, but culminates in a running event of micro-moments until the absorption of the shock (Massumi 2002: xxi). Forces interfere until this creative trend coming from Tai Chi practise neutralizes the shock, as informed by notions from the art of tai chi (Ma Yueh-Huang et Zee Wen 1986: 7; Mantak Chia and Juan Li 1988: 162).

To examine this event more closely, we will draw on the conception of ‘direct recognition’ by Whitehead (1927, 17) which is based on two complementary concepts: the ‘presentational immediacy’ and the ‘causal efficiency’ constantly interpenetrating. 

After defining the event and the affects involved, we will analyze its enunciative phases from which the last one is the emergence of the Voice of the Event. To understand deeply the affective power of this voice, I propose that the intensity of the shock dives into the ‘experiential matrix’ (Stern 2000: 67-68) of the body from where creative virtual forces (affects), the Voice, emerge in order to neutralize the shock.