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Papers by Pierre J Pernuit
In 1924, the "Jenkins Picture-Strip Machine," a wireless-photography transmission device invented... more In 1924, the "Jenkins Picture-Strip Machine," a wireless-photography transmission device invented by the U.S. television pioneer Charles Jenkins, was used as part of an ambitious astronomy experiment. On August 21, the closest the planet Mars had been to Earth in eight years, all U.S. radio stations were asked to pause their broadcasts for five minutes in anticipation of the pickup of possible Martian signals. The Jenkins Machine recorded on the occasion onto film a series of dots and dashes: traces of radio waves that weren't sent by any Martian creature, but captured in fact the natural phenomenon astronomers describe as "cosmic noise." At the peak of the interwar "communications euphoria," this "radio vision" fostered "an aesthetic of the [electromagnetic] signal" described by scholar Daniel Gethmann (Gethmann, 2013, p.75). This example is a telling case of the cultural reception of the profound epistemic shift marked by the discovery of Hertzian waves and their rapid deployment in telecommunications, a process that began in the late nineteenth century with the development of wireless telegraphy and radio. Beyond the mere absence of cable, this shift brought about a new media paradigm with social, political, artistic, and philosophical resonances which have frequently been reassessed as new wireless technologies have emerged. For instance, the "wireless being" described by computer scientist Nicholas Negroponte in 2002 in response to the expansion of Wi-Fi (Negroponte, 2002) echoed and updated the "new and astonishing world" of wireless technologies described by William Crookes as early as 1892 (Crookes, 1892 p. 174).
Journée d'études interdisciplinaire dans le cadre du Campus Condorcet, 5 novembre 2019. Guilh... more Journée d'études interdisciplinaire dans le cadre du Campus Condorcet, 5 novembre 2019. Guilherme Machado (université Paris 3 Sorbonne-Nouvelle /Goethe Universität), Antoine Prévost-Balga (université Paris 3 Sorbonne-Nouvelle /Goethe Universität) Pierre-Jacques Pernuit (université Paris 1 Panthéon-Sorbonne), Alessandra Ronetti (université Paris 1 Panthéon-Sorbonne/École normale supérieure de Pise) ont le plaisir de vous convier le 5 novembre 2019 de 9H à 18H à la journée d’études in..
La recente traduction chez Vrin, dans la collection « Matiere etrangere » del’essai Chose et Medi... more La recente traduction chez Vrin, dans la collection « Matiere etrangere » del’essai Chose et Medium de Fritz Heider par Emmanuel Alloa permet enfin la lecture en francais d’un des textes canoniques de la theorie des media anglo‑saxonne. Ce petit volume — initialement un article publie en 1926 — s’inscrit dans un mouvement plus large de traductions et publications de cette theorie des media allemande que la sphere francophone a trop longtemps ignoree. Si, jusqu’a ce jour, l’attention a ete principalement centree autour de la theorie deterministe et materialiste de Friedrich Kittler, la publication de Chose et Medium vient ouvrir le champ francophone a une theorie plus « elementaire » des media que le philosophe americain John Durham Peters1 appelait recemment de ses vœux, a l’heure ou des notions telles que l’ecologie mediale deviennent communes. Si le lien du medium a la nature et l’ouverture du champ des media a des considerations plus « environnementales » peuvent paraitre une nou...
Histo Art- Mind Control, Art et conditionnement psychologique (XIXe-XXIe siècles)
le D r Norman Cameron […] cherchait dans le cadre de ses recherches sur la schizophrénie un instr... more le D r Norman Cameron […] cherchait dans le cadre de ses recherches sur la schizophrénie un instrument capable de produire une séquence enregistrée et chronométrée de forme et de couleur en mouvement. Le projet m'a semblé tellement passionnant que nous avons réuni les fonds pour concevoir et construire cet instrument […]-contenu dans un cabinet, l'une des faces [de cette machine] comprenait un écran en verre dépoli, tandis que sur l'autre face un tableau commandait à la seconde près les séquences visuelles qui apparaissaient à l'écran. Nous avions baptisé cet appareil le Fantascope. Son écran était protégé par une fenêtre en verre renforcé et placé contre une ouverture dans un mur. Le psychiatre se tenait dans la pièce adjacente, dans laquelle l'écran était encadré à la manière d'un tableau. Le Fantascope était synchronisé à un magnétophone, de sorte que chaque exclamation, chaque remarque [du sujet] pouvait être ultérieurement associée à un événement visuel apparu sur l'écran. Ce protocole peut être décrit comme une sorte de test de Rorschach en mouvement 1. C 'est ainsi que l'artiste américain Thomas Wilfred (1889-1968) évoque la collaboration qu'il débute en 1939 avec le psychologue et professeur au Cornell University Medical College, le docteur Norman Cameron. L'appareil que ce dernier baptise à l'été 1939
Thomas Wilfred, du Color-Organ à l’art cinétique : questions de filiation
Talks by Pierre J Pernuit
This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Profe... more This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Professor of Contemporary Art History, Dr. Pierre-Jacques Pernuit, and Ph.D. candidates Léa Dreyer, Evgenii Kozlof and Clara M. Royer) from the Centre de recherche Histoire Culturelle et Sociale de l’Art (HiCSA), with its generous support as well as that of the École Doctorale 441 d’Histoire de l’art, the Collège des écoles doctorales de l’Université Paris 1 Panthéon-Sorbonne and the Laboratoire International de Recherches en Art (LIRA EA7343, Université Paris 3 Sorbonne Nouvelle).
The international symposium Télé—Visions brings together a body of recent work on the influence of emission, transmission and reception technologies in the visual arts and visual culture, from the 19th century to the present. Beyond the medium of television itself, the plural “tele-visions” refers to the variety of remote viewing and image transmission techniques which, from semaphores to wireless telegraphy and up to fiber optics and contemporary networks, have configured new models for the circulation and transmission of images. Dialoguing with the history of science and technology as well as with media archaeology, the contributors to the conference will explore broad topics such as the joint evolution of perceptual regimes and remote transmission techniques, the modalities of “prosthetic vision,” the material effects of image transmission and the spatio-temporal issues inherent to network dynamics.
This conference takes as its core hypothesis that the “conquest of ubiquity” by the transport of images at any time and in any place described by Paul Valéry in 1928 anticipated the contemporary society of globalized exchanges and, as such, marks a turning point in the history of art. The association IMAGO—Cultures Visuelles proposes to study this turning point, placing it within the historical panorama of the great artistic changes brought about by technology, in the spirit of the importance respectively given to reproduction and storage technologies by Walter Benjamin and Friedrich A. Kittler. Recent research in media studies shows a growing interest in visual telecommunication technologies through such key concepts of “circulation,” “flow” and “network.” Télé—Visions proposes to broaden the scope of this new conceptual understanding of images by exploring the social factors, cultural strategies and technical-aesthetic concerns that have shaped the history of transmitted images and the artistic use of telecommunications.
This event is free and open to the public without reservation. The conference will be live-streamed via Zoom. It will be held in French and English.
Venue : Auditorium Jacqueline Lichtenstein, Institut national d’histoire de l’art (INHA), 2 rue Vivienne 75002 Paris, France.
This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Profe... more This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Professor of Contemporary Art History, Dr. Pierre-Jacques Pernuit, and Ph.D. candidates Léa Dreyer, Evgenii Kozlof and Clara M. Royer) from the Centre de recherche Histoire Culturelle et Sociale de l’Art (HiCSA), with its generous support as well as that of the École Doctorale 441 d’Histoire de l’art, the Collège des écoles doctorales de l’Université Paris 1 Panthéon-Sorbonne and the Laboratoire International de Recherches en Art (LIRA EA7343, Université Paris 3 Sorbonne Nouvelle).
The international symposium Télé—Visions brings together a body of recent work on the influence of emission, transmission and reception technologies in the visual arts and visual culture, from the 19th century to the present. Beyond the medium of television itself, the plural “tele-visions” refers to the variety of remote viewing and image transmission techniques which, from semaphores to wireless telegraphy and up to fiber optics and contemporary networks, have configured new models for the circulation and transmission of images. Dialoguing with the history of science and technology as well as with media archaeology, the contributors to the conference will explore broad topics such as the joint evolution of perceptual regimes and remote transmission techniques, the modalities of “prosthetic vision,” the material effects of image transmission and the spatio-temporal issues inherent to network dynamics.
This conference takes as its core hypothesis that the “conquest of ubiquity” by the transport of images at any time and in any place described by Paul Valéry in 1928 anticipated the contemporary society of globalized exchanges and, as such, marks a turning point in the history of art. The association IMAGO—Cultures Visuelles proposes to study this turning point, placing it within the historical panorama of the great artistic changes brought about by technology, in the spirit of the importance respectively given to reproduction and storage technologies by Walter Benjamin and Friedrich A. Kittler. Recent research in media studies shows a growing interest in visual telecommunication technologies through such key concepts of “circulation,” “flow” and “network.” Télé—Visions proposes to broaden the scope of this new conceptual understanding of images by exploring the social factors, cultural strategies and technical-aesthetic concerns that have shaped the history of transmitted images and the artistic use of telecommunications.
This event is free and open to the public without reservation. The conference will be live-streamed via Zoom. It will be held in French and English.
Venue : Auditorium Jacqueline Lichtenstein, Institut national d’histoire de l’art (INHA), 2 rue Vivienne 75002 Paris, France.
In 1924, the "Jenkins Picture-Strip Machine," a wireless-photography transmission device invented... more In 1924, the "Jenkins Picture-Strip Machine," a wireless-photography transmission device invented by the U.S. television pioneer Charles Jenkins, was used as part of an ambitious astronomy experiment. On August 21, the closest the planet Mars had been to Earth in eight years, all U.S. radio stations were asked to pause their broadcasts for five minutes in anticipation of the pickup of possible Martian signals. The Jenkins Machine recorded on the occasion onto film a series of dots and dashes: traces of radio waves that weren't sent by any Martian creature, but captured in fact the natural phenomenon astronomers describe as "cosmic noise." At the peak of the interwar "communications euphoria," this "radio vision" fostered "an aesthetic of the [electromagnetic] signal" described by scholar Daniel Gethmann (Gethmann, 2013, p.75). This example is a telling case of the cultural reception of the profound epistemic shift marked by the discovery of Hertzian waves and their rapid deployment in telecommunications, a process that began in the late nineteenth century with the development of wireless telegraphy and radio. Beyond the mere absence of cable, this shift brought about a new media paradigm with social, political, artistic, and philosophical resonances which have frequently been reassessed as new wireless technologies have emerged. For instance, the "wireless being" described by computer scientist Nicholas Negroponte in 2002 in response to the expansion of Wi-Fi (Negroponte, 2002) echoed and updated the "new and astonishing world" of wireless technologies described by William Crookes as early as 1892 (Crookes, 1892 p. 174).
Journée d'études interdisciplinaire dans le cadre du Campus Condorcet, 5 novembre 2019. Guilh... more Journée d'études interdisciplinaire dans le cadre du Campus Condorcet, 5 novembre 2019. Guilherme Machado (université Paris 3 Sorbonne-Nouvelle /Goethe Universität), Antoine Prévost-Balga (université Paris 3 Sorbonne-Nouvelle /Goethe Universität) Pierre-Jacques Pernuit (université Paris 1 Panthéon-Sorbonne), Alessandra Ronetti (université Paris 1 Panthéon-Sorbonne/École normale supérieure de Pise) ont le plaisir de vous convier le 5 novembre 2019 de 9H à 18H à la journée d’études in..
La recente traduction chez Vrin, dans la collection « Matiere etrangere » del’essai Chose et Medi... more La recente traduction chez Vrin, dans la collection « Matiere etrangere » del’essai Chose et Medium de Fritz Heider par Emmanuel Alloa permet enfin la lecture en francais d’un des textes canoniques de la theorie des media anglo‑saxonne. Ce petit volume — initialement un article publie en 1926 — s’inscrit dans un mouvement plus large de traductions et publications de cette theorie des media allemande que la sphere francophone a trop longtemps ignoree. Si, jusqu’a ce jour, l’attention a ete principalement centree autour de la theorie deterministe et materialiste de Friedrich Kittler, la publication de Chose et Medium vient ouvrir le champ francophone a une theorie plus « elementaire » des media que le philosophe americain John Durham Peters1 appelait recemment de ses vœux, a l’heure ou des notions telles que l’ecologie mediale deviennent communes. Si le lien du medium a la nature et l’ouverture du champ des media a des considerations plus « environnementales » peuvent paraitre une nou...
Histo Art- Mind Control, Art et conditionnement psychologique (XIXe-XXIe siècles)
le D r Norman Cameron […] cherchait dans le cadre de ses recherches sur la schizophrénie un instr... more le D r Norman Cameron […] cherchait dans le cadre de ses recherches sur la schizophrénie un instrument capable de produire une séquence enregistrée et chronométrée de forme et de couleur en mouvement. Le projet m'a semblé tellement passionnant que nous avons réuni les fonds pour concevoir et construire cet instrument […]-contenu dans un cabinet, l'une des faces [de cette machine] comprenait un écran en verre dépoli, tandis que sur l'autre face un tableau commandait à la seconde près les séquences visuelles qui apparaissaient à l'écran. Nous avions baptisé cet appareil le Fantascope. Son écran était protégé par une fenêtre en verre renforcé et placé contre une ouverture dans un mur. Le psychiatre se tenait dans la pièce adjacente, dans laquelle l'écran était encadré à la manière d'un tableau. Le Fantascope était synchronisé à un magnétophone, de sorte que chaque exclamation, chaque remarque [du sujet] pouvait être ultérieurement associée à un événement visuel apparu sur l'écran. Ce protocole peut être décrit comme une sorte de test de Rorschach en mouvement 1. C 'est ainsi que l'artiste américain Thomas Wilfred (1889-1968) évoque la collaboration qu'il débute en 1939 avec le psychologue et professeur au Cornell University Medical College, le docteur Norman Cameron. L'appareil que ce dernier baptise à l'été 1939
Thomas Wilfred, du Color-Organ à l’art cinétique : questions de filiation
This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Profe... more This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Professor of Contemporary Art History, Dr. Pierre-Jacques Pernuit, and Ph.D. candidates Léa Dreyer, Evgenii Kozlof and Clara M. Royer) from the Centre de recherche Histoire Culturelle et Sociale de l’Art (HiCSA), with its generous support as well as that of the École Doctorale 441 d’Histoire de l’art, the Collège des écoles doctorales de l’Université Paris 1 Panthéon-Sorbonne and the Laboratoire International de Recherches en Art (LIRA EA7343, Université Paris 3 Sorbonne Nouvelle).
The international symposium Télé—Visions brings together a body of recent work on the influence of emission, transmission and reception technologies in the visual arts and visual culture, from the 19th century to the present. Beyond the medium of television itself, the plural “tele-visions” refers to the variety of remote viewing and image transmission techniques which, from semaphores to wireless telegraphy and up to fiber optics and contemporary networks, have configured new models for the circulation and transmission of images. Dialoguing with the history of science and technology as well as with media archaeology, the contributors to the conference will explore broad topics such as the joint evolution of perceptual regimes and remote transmission techniques, the modalities of “prosthetic vision,” the material effects of image transmission and the spatio-temporal issues inherent to network dynamics.
This conference takes as its core hypothesis that the “conquest of ubiquity” by the transport of images at any time and in any place described by Paul Valéry in 1928 anticipated the contemporary society of globalized exchanges and, as such, marks a turning point in the history of art. The association IMAGO—Cultures Visuelles proposes to study this turning point, placing it within the historical panorama of the great artistic changes brought about by technology, in the spirit of the importance respectively given to reproduction and storage technologies by Walter Benjamin and Friedrich A. Kittler. Recent research in media studies shows a growing interest in visual telecommunication technologies through such key concepts of “circulation,” “flow” and “network.” Télé—Visions proposes to broaden the scope of this new conceptual understanding of images by exploring the social factors, cultural strategies and technical-aesthetic concerns that have shaped the history of transmitted images and the artistic use of telecommunications.
This event is free and open to the public without reservation. The conference will be live-streamed via Zoom. It will be held in French and English.
Venue : Auditorium Jacqueline Lichtenstein, Institut national d’histoire de l’art (INHA), 2 rue Vivienne 75002 Paris, France.
This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Profe... more This event is convened by the research group IMAGO-Cultures Visuelles (Dr. Pascal Rousseau, Professor of Contemporary Art History, Dr. Pierre-Jacques Pernuit, and Ph.D. candidates Léa Dreyer, Evgenii Kozlof and Clara M. Royer) from the Centre de recherche Histoire Culturelle et Sociale de l’Art (HiCSA), with its generous support as well as that of the École Doctorale 441 d’Histoire de l’art, the Collège des écoles doctorales de l’Université Paris 1 Panthéon-Sorbonne and the Laboratoire International de Recherches en Art (LIRA EA7343, Université Paris 3 Sorbonne Nouvelle).
The international symposium Télé—Visions brings together a body of recent work on the influence of emission, transmission and reception technologies in the visual arts and visual culture, from the 19th century to the present. Beyond the medium of television itself, the plural “tele-visions” refers to the variety of remote viewing and image transmission techniques which, from semaphores to wireless telegraphy and up to fiber optics and contemporary networks, have configured new models for the circulation and transmission of images. Dialoguing with the history of science and technology as well as with media archaeology, the contributors to the conference will explore broad topics such as the joint evolution of perceptual regimes and remote transmission techniques, the modalities of “prosthetic vision,” the material effects of image transmission and the spatio-temporal issues inherent to network dynamics.
This conference takes as its core hypothesis that the “conquest of ubiquity” by the transport of images at any time and in any place described by Paul Valéry in 1928 anticipated the contemporary society of globalized exchanges and, as such, marks a turning point in the history of art. The association IMAGO—Cultures Visuelles proposes to study this turning point, placing it within the historical panorama of the great artistic changes brought about by technology, in the spirit of the importance respectively given to reproduction and storage technologies by Walter Benjamin and Friedrich A. Kittler. Recent research in media studies shows a growing interest in visual telecommunication technologies through such key concepts of “circulation,” “flow” and “network.” Télé—Visions proposes to broaden the scope of this new conceptual understanding of images by exploring the social factors, cultural strategies and technical-aesthetic concerns that have shaped the history of transmitted images and the artistic use of telecommunications.
This event is free and open to the public without reservation. The conference will be live-streamed via Zoom. It will be held in French and English.
Venue : Auditorium Jacqueline Lichtenstein, Institut national d’histoire de l’art (INHA), 2 rue Vivienne 75002 Paris, France.