17.02.2026<\/p>\n\n\n\n
Jean Tain (Fribourg)<\/strong><\/p>\n\n\n\n Paysages technicis\u00e9s<\/p>\n\n\n\n 24.02.2026<\/p>\n\n\n\n Martin Rueff (Gen\u00e8ve)<\/strong><\/p>\n\n\n\n Rousseau et l\u2019art du roman comme technique de la sensibilit\u00e9<\/p>\n\n\n\n 03.03.2026<\/p>\n\n\n\n Christoph Haffter (Basel)<\/strong><\/p>\n\n\n\n R\u00e4ume des H\u00f6rens in der zeitgen\u00f6ssischen Musik<\/p>\n\n\n\n 10.03.2026<\/p>\n\n\n\n Daniel Feige (Stuttgart)<\/strong><\/p>\n\n\n\n Horror: Film und Negativit\u00e4t<\/p>\n\n\n\n 17.03.2026<\/p>\n\n\n\n David Espinet (Strasbourg)<\/strong><\/p>\n\n\n\n L\u2019image avant l\u2019image<\/p>\n\n\n\n 24.03.2026<\/p>\n\n\n\n B\u00e9atrice Joyeux-Prunel (Gen\u00e8ve)<\/strong><\/p>\n\n\n\n Faire du Dal\u00ed sans en avoir vu<\/p>\n\n\n\n <\/p>\n\n\n\n 21.04.2026<\/p>\n\n\n\n J\u00e9r\u00f4me Game<\/strong> (Paris\/New York)<\/p>\n\n\n\n De l\u2019int\/erm\u00e9dial. Po\u00e9tique du sensible et techniques de la perception<\/p>\n\n\n\n 28.04.2026<\/p>\n\n\n\n Michael Hagner<\/strong> (Z\u00fcrich)<\/p>\n\n\n\n Anti-Psychiatry and Photo Culture after 1968<\/p>\n\n\n\n 05.05.2026<\/p>\n\n\n\n C\u00e9line Fl\u00e9cheux (Paris 8)<\/strong><\/p>\n\n\n\n Techniques de repr\u00e9sentation de l\u2019horizon<\/p>\n\n\n\n 12.05.2026<\/p>\n\n\n\n Mateo Belgrano<\/strong> (Buenos Aires\/Berlin)<\/p>\n\n\n\n Iconic habit. The power of images in social media<\/p>\n\n\n\n 19.05.2026<\/p>\n\n\n\n Yixuan Liu<\/strong> (Fribourg)<\/p>\n\n\n\n The First Fleeting Encounter with the Image<\/p>\n","protected":false},"excerpt":{"rendered":" 17.02.2026 Jean Tain (Fribourg) Paysages technicis\u00e9s 24.02.2026 Martin Rueff (Gen\u00e8ve) Rousseau et l\u2019art du roman comme technique de la sensibilit\u00e9 03.03.2026 Christoph Haffter (Basel) R\u00e4ume des H\u00f6rens in der zeitgen\u00f6ssischen Musik 10.03.2026 Daniel Feige (Stuttgart) Horror: Film und Negativit\u00e4t 17.03.2026 David Espinet (Strasbourg) L\u2019image avant l\u2019image 24.03.2026 B\u00e9atrice Joyeux-Prunel (Gen\u00e8ve) Faire du Dal\u00ed sans en … Read more[Seminar Cycle] Techniques of the senses (Spring Semester 2026)<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":1097,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts\/1096"}],"collection":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/comments?post=1096"}],"version-history":[{"count":3,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts\/1096\/revisions"}],"predecessor-version":[{"id":1107,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/posts\/1096\/revisions\/1107"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/media\/1097"}],"wp:attachment":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/media?parent=1096"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/categories?post=1096"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/tags?post=1096"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}