What matters with(in) animated body metamorphosis? Extension of perceptual and meaningful boundaries through embedded vision

The workshop suggests an educational experience of embodied knowledge about the animated image and an exploration into the power of the filmic dispositif in terms of the generation, perception and incorporation that is linked to the dimension of bodily experience. The filmic dispositif will be adopted as an apparatus (Barad, 2007), endowed with an agentiveness on its own capable of making "dimensions of our aisthesis habitually neutralised by our sensorial limitations and/or habits appear to our senses" (Kittler, 1986). By constructing an experience of inhabitation within the threshold (Genette, 1969), we will wonder about the limits of the body and the dialectical positioning between human and non-human creatures, giving space for the otherness of the world. The course will allow one to explore the possibility of becoming-otherthan-self as a becomingself, experiencing one's own non-being. During the workshop, excerpts from Miyazaki's film Howl's Moving Castle, containing hybrid and metamorphic body images, will be shown, enabling participants to experience a "becoming-animated" process (Bissonnette 2019). This process involves the creation of an empathic contact with the filmic image that generates affective reverberations in the subject, thereby making permeable and extending its perceptive boundaries. The participant can thus perceive the animated image in an embodied dimension, experiencing neural, sensorimotor and emotional reconfigurations. Such reconfigurations, entangled with the enactive interpretation (Varela, 1992) of the percipient's experience, can be interpreted as a breakdown that triggers a mutation of the individual's emotional and affective states, bringing about a cognitive restructuring (Barone, 1997). The animated image thus generates a sudden conjunction of something ordinary, within an animated dimension of transformation, to the bodily memory of situated experiences, which "literally raises another memory that reconfigures the present itself" (Didi-Huberman, 2015), revealing its educational power.