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The Dispositif by Valerie Larroche

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1Techne-Poiesis and the Dispositive

Technical actions take place in a dispositive, which we will detail in this chapter. Among these components are always found technical objects handled or conceptualized by humans. Jean-Pierre Meunier1 (1999) clearly conveys the pervasiveness of technique when one studies the dispositive: “At the center of the network corresponding to the concept of dispositive can surely be found meanings strongly implying technique […]”2 (p. 83). Expressions commonly used in the professional world such as mounting device, scenographic device, manufacturing device, etc., refer to hardware arrangements making possible the production of a product or object. A film is an object, or even an artwork produced by means of different devices, including the mounting device for example3. A car, décor, processed food, etc., are objects produced using a device. The latter is present whenever an object is reproduced in several copies.

Techne, from the Greek τέχνη, for the ancient Greeks referred to “production” or “physical manufacturing” and efficient action4. Techne-poiesis helps us to differentiate physical manufacturing from creative action5. The dispositive is a space implementing this relationship between techne and poiesis. The implementation of technical activities makes it possible to create artworks or perform repetitive operations. Some of these activities relate to art, and others relate to the technical or even industrial field. The proficiency of the cinematograph ...

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