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Dans le cadre de la conférence internationale NECSanglophone organisée à l’Université Paris 3 du 29 juin au 1 juillet (Sensibility and the Senses: Media, Bodies, Practices―The NECS 2017 Conference), tout projet de panel ou de communication sur les médias/cinéma en Chine/ Asie est le bienvenu !Date limite de dépôt des dossiers : avant 31 janvier 2017.The question of the relationship between media, bodies, and the senses cuts across the entire history of media theories. Since their first appearance, technical media such as telegraphy, photography, gramophone, film, typewriter, the telephone, radio, and then television, computer, internet, as well as a wide variety of cultural techniques for the recording, processing, and transmitting of information have been analyzed taking into consideration their relationships with the human body and its sensory organs. Concepts such as “organ projection,” “prosthesis,” “innervation,” “extension,” and “interface” have been used to describe the contact and the interaction between human organisms and technical apparatuses with their various degrees of hybridization, which in turn have generated a whole series of utopian anddystopian visions of a future “post-human” condition. And while the very notion of medium is strictly related to the problem of sensory perception (since it finds one of its origins in the Latin translation of a Greek term, metaxy, which was used by Aristotle in order to indicate the material intermediary entities that make perception possible), the body itself (with its expressive face, its sensitive skin, and its meaningful gestures and movements) has often been considered a sort of primary medium, a crucial reference point in order to understand the very nature of mediation.The current transformations in our media landscape raise once more the question of the correlation between the history of technology and the history of the human sensorium, and invite us to reconsider the various possible relationships between media – in the widest sense of the term – and the realm of the senses, affects, and emotions. Cinema, with the various historical transformations of its spatial dispositif, has provided for decades and continues to provide a particularly important field for the interpretation of the cultural dynamics involved in the representation and reception of bodily identities and for the analysis of the aesthetic, embodied experience of the spectator. The same can be said for other visual, audiovisual, and sound media, which have tried to render through the grains, textures, and frequencies of their representations the different, dynamic materialities of bodies and sensations.Today, the new bio-technical forms of life produced by ubiquitous digital media and by a whole range of artistic and non-artistic practices confront us with unprecedented theoretical questions, which can be tackled by combining perspectives that are both archaeological and forward-looking. We need appropriate theoretical frameworks in order to understand phenomena such as the sensory and cognitive functions performed by contemporary networked screens, the return of stereoscopic 3D imagery, the recent developments in the fields of virtual and augmented reality, the increasing presence in our living environment of intelligent sensing devices, the agencies of elemental media and mediating matters, as well as our daily interactions with digital technologies whose computational processes and outcomes are located below or beyond the thresholds of human perception. Understanding the new conditions of human and non-human sensibility within a fully networked media environment is one of the major challenges of contemporary film and media studies.The 2017 NECS conference – which will take place for the first time France, in a cultural context which has given a very important contribution to the development and the institutionalization of film and media studies – will try to meet this challenge by tackling the crucial issue of the relationship between media, bodies, and the senses through the different research perspectives pursued by the members of our community.Submissions may include but are not limited to the following topics: the different ways in which the relationship between media, bodies, and the senses has been discussed in the history of film and media theories the possible correlations between the history of visual, audiovisual, and sound technologies, and the history of sensory experience the human body as medium the nature of embodied media experiences: the perspectives of philosophy, psychology, and the neurosciences media environments, sensitive landscapes, mediating matters audiovisual media and the aesthetics/economies/ecologies of attention and distraction the history and the current transformation of screens, and their relation to human sensory experience audience bodies: apparatuses, behaviors, and the senses the media experiences produced by 3D imaging and by virtual and augmented reality devices media/body interfaces bodily gestures and motion capture technologies the history and current developments of techniques of brain and body imaging, biometrics, and body data visualization the impact of media and technologies of big data processing onto the forms and rhythms of human sensory perception wearable media and smart tissues the role of media in mobilizing and geolocalizing bodies organic bodies, artificial bodies, hybrid bodies, prosthetic bodies the relation between human and non-human (material, environmental, animal, technological) sensibility the representation of bodies and the senses in the history of sound media bodies and the senses in the history of experimental, avant-garde cinema and in contemporary visual arts the aesthetics of film forms and the relationships between filmic and bodily energies and forces bodies and the senses in the traditions of documentary cinema bodies and the senses in visual anthropology and sensorial ethnography bodies, senses, and modes of self-representation in social media bodies and the senses in videogames and animation films bodies, gestures, discipline, and performance in the history of industrial cinema media, sensibility, affects, and emotions audiovisual media and the politics of sexuality and body identities media and the politics of the senses stars and celebrities as bodies, images, and role models bodies, senses, and fan cultures the impact of new and domestic media on identities, intimacies, gender roles, and personal relationships representations of bodies and the senses and questions of ethics, morality, and tasteScholars from all areas of cinema and media studies, whether previously affiliated with NECS or new to the network, are invited to submit proposals, but NECS membership is a requirement.NB The conference will be held in English, with a limited presence of contributions in French. Individual papers will have to be in English. Pre-constituted panels can be in English, in French, or with a mix of the two languages.Plus de renseignements : NECS - European Network for Cinema and Media Studies | NECS