This course examines forms of cinema and related audio-visual media that exceed the boundaries of the usual cinematic dispositif: projector behind the spectator, screen containing a diegetic world, spectators rapt in silent attention. As Foucault famously describes it, the dispositif is a “a thoroughly heterogeneous ensemble consisting of discourses, institutions, architectural forms, regulatory decisions, laws, administrative measures, scientific statements, philosophical, moral and philanthropic propositions… The apparatus itself is the system of relations that can be established between these elements.” Agamben has expanded the term includinmg “literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of living beings. Not only, therefore, prisons, madhouses, the panopticon, schools, confession, factories, disciplines, judicial measures, and so … but also the pen, writing, literature, philosophy, agriculture, cigarettes, navigation, computers, cellular telephones and--why not--language itself..."
We will focus on these definitions, but also on the simpler idea of a deployment of media in a particular, culturally and socially defined form. I am particularly interested in forms that include the spectator in the space of representation/experience, including 3-D, surround-sound, multimedia installations, sound art, but also earlier forms like panoramas, stereographs, and music performance.