Abstracts

7 Oct 2026  

Session 1: Intermedial Objects (Fonderie, salle RG118) 9h30

Invisible Intermedia: Clam Gardens, Ecotones, and the Ideological Limits of Settler Perception

Max KAARIO, Docteur, artiste, chercheur et éducateur

Intermediality can be understood as the interaction of at least two media, producing a third, complex configuration. Extending this framework, recent research has proposed that natural phenomena—such as wind or photosynthesis—may themselves be understood as media. Building on this premise, this paper approaches ecosystems as intermedial formations in order to examine how different human groups perceive and inhabit their environments. Human engagement with so-called “natural” media is never neutral; it is shaped by sedimented ideological frameworks that condition perception.

      This paper focuses on the intertidal clam gardens of the Salish Sea, on the Pacific Northwest coast of North America. The intermedial dimension of ecosystems becomes particularly visible in ecotones, zones where distinct ecosystems meet and generate a transitional third environment. Ecotones reconfigure the media landscape by bringing heterogeneous material, sensorial, and semiotic modalities into contact.

     Clam gardens—intertidal stone-walled terraces constructed by Indigenous communities, some dating back over 3,500 years—may be understood as artificial ecotones. Through sustained human intervention, they establish a productive interface between marine and terrestrial systems. As such, they function as intermedia: they intensify the perceptual and ecological complexity of the coastline while fostering biodiversity and long-term sustainability. Rather than depleting resources, these structures enhance ecological relations across multiple species.

     This paper ultimately interrogates the conditions under which such intermedial formations become perceptible—or remain unseen. Why did Anglo-European settlers fail to recognize clam gardens as engineered environments until the late twentieth century? I argue that this perceptual gap reveals the limits of a settler-colonial epistemology grounded in extractive and oppositional models of nature. Because clam gardens operate through augmentation rather than exploitation, their intermediality resists settler perceptual frameworks, rendering them effectively invisible. Their belated recognition thus underscores the ideological dimensions of perception and the need to reassess how intermedial environments are apprehended. 

 

Ishmael Reed: writer, musician, cartoonist

Sämi LUDWIG, Professor Emeritus, Université de Haute Alsace, Mulhouse, ILLE

Rather than referring to the work of fancy academic philosophers, Ishmael Reed has always associated his own way of writing with folklore and popular culture. He is an expert on African American culture, on its history and music, and of course also its literature. His distance from academic criticism also manifests itself in his Neo-HooDoo Aesthetic—a way of writing that he consciously grounds in polytheistic metaphysics and contrasts against Abrahamic monotheism—with many specific theoretical implications such as a positive view of syncretism, an anti-phenomenological appreciation of traditional ancestor worship, virtual forces (loas) and their manifestation in possession, i.e., how material perception transition into conceptualizations and what this implies for the ways in which ideas manifest themselves in the contemporary world—because experience is multidimensional and involves all the senses.

              One of the important aspects of this way of seeing the world is that it offers a pragmatist critique of the concepts that determine our understanding of reality, of their qualities, their power, and their ways of impacting on people. In that sense, Reed can offer a historically grounded alternative to poststructuralist formalism. And because his concepts always present themselves in the real world (possession), their modes of manifestation “matter” in many different sensory ways. As a result, he has not only explored different new ways of writing, plotting, or characterization, but also explored different media of representation and expression. Thus he had his own poetry put to music by a group of distinguished jazz musicians such as Kip Hanrahan and Taj Mahal called CONJURE in three albums (1984, 1988, 2005), and even released an album with THE ISHMAEL REED QUINTET, playing the piano on For All We Know (2007) together with this wife Carla Blank, who plays the violin, and a group of jazz musician friends around David Murray.

    Furthermore, in his novel Juice! On the O.J. Simpson case, his main protagonist is a cartoonist—a fitting profession that rhymes with his own often allegorical literary categorizations and typified representations. On this occasion, Reed provided some scrawly cartoons himself and decided to explore yet another mode of expression of his ideas. Since then, he has put his own illustrations in almost all of his new novels.

              In this paper I would like to share some of Reed’s musical work and drawings and try to connect them to an aesthetic vision that honors the intermediality of the human experience in its sensory thickness. Maybe I can even explain how this approach is an aesthetic ingredient of Reed’s artistic approach that can be connected to his very vision of life and reality itself.

 

 Session 2: Words and Pictures  (Fonderie, salle RG118) 10h45

Indeterminacy, Metaphor, and Intermediality 

David HAYWARD, Docteur, chercheur et poète

This paper will discuss the relationship between Indeterminacy, Metaphor and Intermediality. Indeterminacy, the subject of my doctoral dissertation, is defined as both the states of uncertainty and certainty, and the process of movement between them, a dynamic that is transformational, and closely related to the idea of metaphor. The discussion of Intermediality takes as its starting point is Lars Elleström’s communication framework, and then considers it more broadly as ‘relatedness,’ signified by the prefix ‘inter’ versus the ‘in’ of Indeterminacy. A more expansive approach to Intermediality than Elleström is proposed in two key respects. Firstly, Intermediality is considered a phenomenon that can occur intra-mind as well as between separate minds. Secondly, referring to Giorgio Agamben’s theorising about the ‘beginning’ of language, Intermediality and Indeterminacy are investigated from an ontological perspective — what is it that happens in the beginning? These thoughts are then employed to consider the translucines in the Canadian poet Erin Mouré’s O Cadoiro, a work based on the love poetry (cantigas) of medieval Galician troubadours. The translucines combine text and image with clippings from Derrida’ Mal d’Archive (the word archive is derived from the Greek word for beginning arkhé), literally threaded into the translations of the cantigas. This leads to a discussion of the relationship between text and image and the elusive search for authorial beginning, which Mouré describes as the 'falling down place,' a translation of the word cadoiro.

Intermedial Readings of  Richard Crashaw's  "Letters to the Countess of Denbigh"

Fabrice SCHULTZ, Maître de Conférences, UHA, ILLE

The opening poem of Richard Crashaw’s posthumous collection of sacred poetry, Carmen Deo nostro, published in Paris in 1652, is a verse letter addressed to Helen Feilding titled “To the Noblest and Best of Ladies, the Countess of Denbigh. Persuading Her to Resolution in Religion, and to Render Herself without Further Delay into the Communion of the Catholic Church.” The poem, which has been likened to the tradition of emblems, is preceded by an illustration representing a padlocked heart, a Latin motto and a four-line epigram. Is the poem really an emblem? Are intermedial relationships unequivocal or do they unsettle readers and challenge the perception of the poem fostered by the title but also of the entire collection? What is the reading contract entailed by the first poem of the collection and reconfigure the perception and interpretation of the other poems?

 Lunch Break

 Session 3: Ecrire l'Art / Writing Art (Fonderie, salle RG121) 14h

 “Ecrire l’Art” résidence d'artiste presenté par Sandrine Wymann (dir Kunsthalle) et Jennifer K Dick. 

Écrire l’art II, présente les textes inédits d’auteur·es associé·es à une saison culturelle. La Kunsthalle Mulhouse invite des auteur-poètes à écrire un texte autour de chaque exposition qu’elle présente. Nous sommes actuellement à notre 7ème résident, et le 5ème ouvrage vient d'être publié (celui de Jérôme Game). Nous allons vous parler de l'histoire de cette résidence et l'intéret qu'elle suscite pour le centre d'art et pour l'UHA. Ecrire l'art I: Pendant 10 années, 21 poètes se sont succédés à La Kunsthalle, exposition après exposition, pour écrire un texte. Jérôme Mauche, Virgine Poitrasson, Frédéric Forte, Véronique Pittolo, Jean-Michel Espitallier, Daniel Gustav Cramer, Michaël Batalla, Stéphane Bouquet, Cécile Mainardi, Martin Richet, Eric Suchère, Hyam Yared, Anne Portugal, Andrea Inglese, Christophe Fiat, Dominique Quélen, Frank Smith, Christophe Manon, Sandra Moussempès, Deborah Heissler, Luc Bénazet, chacun s’est emparé de l’invitation selon son envie et tous ont écrit une œuvre inédite. Elles sont à présent rassemblées dans un DOSSIER DES OUVRAGES EXECUTÉS. Véritable mémoire de dix années d’expositions, ce livre reflète la créativité et la diversité d’un lieu ouvert à de multiples pratiques artistiques. 

Lectures-performances intermédiales par Eric Hauser (résident ILLE/Ecrire l’Art 2026), Jennifer K Dick (Maître de Conférences, UHA/ILLE, auteure), Jérôme Game (Professeur aesthetique HDR, HEAR, plasticien) et Laura Mullen (universitaire, auteure-performeuse et traductrice)

 

Session 4: Body, Image on and off the Page (Fonderie, salle RG121) 15h50

Disjunction in Theresa Hak Kyung Cha’s Exilee Temps Morts

Marwa SELMI, PhD candidate, Université Paris Cité

In Exilee Temps Morts, a hybrid textual-visual work, Theresa Hak Kyung Cha arranges textual, photographic, and archival fragments in discontinuous sequences, resisting linearity and interpretive hierarchy. These aesthetic choices reflect Cha’s attempt to disrupt the conventional relations between text and image, in which verbal and visual elements anchor one another through illustration or explanation.  James A. W. Heffernan encapsulates these relations in the notions of ekphrasis, iconoclicity, and pictorialism. This paper initially debunks the assumption that textual legibility and visual visibility operate as complementary interpretive systems. Drawing on W.J.T. Mitchell’s Picture Theory, this paper situates Cha’s book in a framework that challenges the purity of both media and qualifies their connection with tension, contamination, and disjunction. Existing scholarship often take interest in studying this tension between media in Dictee, Cha’s autobiographical, intermedial work, through studying the spatialization of textual fragments, the resistance of photographs to captioning, and the disruption of stable transitions between reading and viewing through montage structures, resulting in an intermediality that blurs the line between the visible and the legible. This paper argues that the unresolved nature of Cha’s intermediality stems fundamentally from suspended presence. Cha distributes bodily presence across textual and visual fragments in ways that prevent either medium from achieving perceptual or interpretive completion. Through photographs marked by corporeal absence, textual traces, and fragmented text/image encounters structured through latency and interruption. Exilee Temps Morts eventually comes to embody Gilles Deleuze’s conceptual model of non-correspondence, where regimes of visibility and discursivity resist stablizing each other through explanation and remain caught in a continual relinking.

Illustration, l'impossible image. 

Dominique MEYER, Dessinateur, Professeur du BD pour les atelier d'art de Paris

Le terme est récent et la pratique est ancienne. Comment parler de la mise en image du texte, toujours dépréciée, mais dont le processus, le timing même n'est jamais le même De l'image au texte et du texte à l'image. Des mots et des images simultanées. Enluminures, romans graphiques de Cocteau, croquis oubliés en marge témoignent de cette simultanéité, mais également de l'impossible caractérisation définitive du statut adulé et déprécié de l'image. Mettons-nous vraiment des mots sur des images, et / ou des images sur des mots.

 

Keynote 1: Conférence Plénière (Fonderie, salle RG121) 17h

Pascale AEBISCHER, Professor, University of Exeter

Lost in Translation? Technological and Cultural biases in Theatre broadcasts of Shakespeare

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 Session 5: VISUAL ARTS à la FLSH, Campus ILLBERG UHA: salle 201. 9h

De la scène à la toile : Percevoir et transposer l’orage de King Lear dans la peinture britannique du 18^ème siècle

Armelle Sabatier, Maître de Conférences HDR, Univ de Paris Panthéon-Assas

Les scènes de l’orage dans King Lear (acte 3) ont donné lieu à un certain nombre de transpositions picturales au 18^ème siècle. Si la version de Benjamin Wilson (1761) figurant l’acteur David Garrick en costume de scène demeure la plus connue, deux autres peintres, Benjamin West en 1788, et John Runciman en 1767, produisent des tableaux mettant en avant des éléments différents. Cette communication cherchera à repenser les relations intermédiales entre théâtre et peinture dans une perspective de « transposition intermédiale » telle que définie par Irina Rajewski. En effet, le passage de la scène vers la toile interroge les perceptions sensorielles du public de théâtre qui se tourne vers des tableaux fixant pour la postérité un extrait d’un texte théâtral. Comment se construisent les modalités sensorielles lors de la transition du visuel et du sonore du monde théâtral vers l’unicité du visuel qu’offre le pictural ? Quelles stratégies sont déployées par les peintres du 18^ème siècle ? Cette communication s’attachera également à prendre en compte les modalités matérielles liées à ces deux media qui modifient les perceptions que peut avoir le public, telle que la présence et le positionnement du corps, ou encore l’introduction du paysage.

Visualising Synthetic Intermediality in Two of William Lake Price’s Photographs: The Miniature and The Monk

Rasha Alshbli, Doctoral Candidate, UHA 

William Lake Price (1810-1896) was a British cross-disciplinary artist whose practice shifted from architecture and topography (1828-1832) to watercolour painting (1837-1852). During the 1850s, once again, his attention to art took another turn when he developed an interest in photography which was the area where he had a great impact, theoretically and practically. He wrote A Manual of Photographic Manipulation: Treating of the Practice of the Art; and Its Various Applications to Nature (1858), and published a second edition of it in 1868. In addition to his manual, he wrote many articles in The Photographic News, in which he analysed many of the great classics in painting. His photographic portfolio included various genres, such as portraits, tableaux vivants, still-lifes, landscapes, and architecture.
          A representative example of the concept of intermediality is Price’s staged tableau: The Miniature (1855). The title suggests that this photograph follows the miniature portrait tradition found in painting. In addition, Price accompanied it with a text from The Comic Pastoral (1667), a play by Molière. Another example is The Monk (1856), which was a recurring theme in literature in the nineteenth century and even before. The artistic style of this tableau resembled the chiaroscuro techniques of Rembrandt. This in turn falls in what Jens Schröter calls synthetic intermediality, “which refers to the fusion of different arts and media into new art or media forms” (Chapple and Kattenbelt 13). This idea resonates with these tableaux in form and content, as they draw on painting techniques used in classical works, and the themes present in written literature at different levels, tending to artistically merge, extend, and reuse them through photography.
          This paper will look into two tableaux vivants by Price, viz. The Miniature (1855) and The Monk (1856), showcasing how he fused various literary, cultural, and artistic media into the then-emerging medium of photography.

 Session 6: MUSIC à la FLSH, Campus ILLBERG UHA: salle 201. 10h25

Musicking Murakami: Transmedial and Intermedial Readings of the Beatles in Haruki Murakami’s ‘Norwegian Wood’ and ‘Yesterday’

Giuseppe PANTANO, PhD candidate, Université de Lorrain

This contribution presents a case study based on a transmedial and intermedial analysis of Haruki Murakami’s “Norwegian Wood” (1987) and “Yesterday” (2014), alongside the Beatles’ homonymous songs. Drawing on a theoretical framework that investigates the intermedial connections between music and literature — both as forms of “intracompositional intermediality” (Wolf, 2002) and as examples of “music in literature” through “explicit reference” (Scher, 1970) — this study examines the aesthetic experience generated through the encounter between Murakami’s texts and Beatles music. The theoretical framework engages with perspectives according to which processes of signification emerge through affective (Pethő, 2026) and performative engagement (Pantano, 2026), dynamics traceable within the space between the artistic and the aesthetic poles theorised in Iser’s reception theory (1978).

In “Norwegian Wood”, the Beatles song is woven symbolically and structurally throughout the novel, recurring at three pivotal moments — the beginning, middle, and conclusion of the narrative (Pantano, 2025). In “Yesterday,” the narrative unfolds through Tanimura’s recollection of his friend Kitaru’s eccentric Kansai-dialect adaptation of the Beatles song, transforming musical memory into a narrative and intercultural device. Experiencing the songs therefore becomes essential to fully grasp the synesthetic dimension of Murakami’s writing, filling the open spaces generated by his “empty narrative,” which, in turn, allows readers to descend into the “forbidden worlds” where the deeper layers of the story unfold (Strecher, 2002, 2018). Through his extensive use of Western cultural references, Murakami may be considered a transcultural author (Wakatsuki, 2017), particularly in his capacity to write beyond the confines of national identity by combining Japanese and Western cultural elements (Juen, 2017). Moreover, music represents not merely a recurrent thematic feature throughout Murakami’s oeuvre, but rather a compositional framework. Murakami himself has, in fact, repeatedly compared the act of writing to musical composition, emphasising rhythm, harmony, and melody as fundamental elements of his poiesis (Ellis et al., 2005). Ultimately, the presence of music in Murakami’s writing expands the aesthetic experience of his texts, thereby representing an additional gateway of access and interpretation, also within educational contexts.

Poems on Progressive Rock Albums and the Heavy Metal Stage: Intermediality as perturbation or complexification of perception

Fabien DESSET, Lecturer, Université de Limoges, EHIC, SERA

The analyses of the adaptations and rewriting of William Blake’s or Samuel Taylor Coleridge’s poems by the progressive rock band Karfagen and the heavy metal group Iron Maiden show both a complexification and perturbation of the perception of the original texts as soon as a second medium is added to them. To start with, music and text may clash when there is a gap between the meaning of the text and the ideas or emotions suggested by the music, which is almost inevitable when the music was composed prior to the choice, use or even pasting of the poetic lines. The restructuring and singing of the poems by Karfagen to fit the musical structure may indeed be unsettling, while producing new meaning. Iron Maiden took one step further in their adaptation of “The Rime of the Ancient Mariner” (1817): although the “transvocalisation” or “transmodalisation” (Gérard Genette, Palimpsests, 1982, trans. 1997) of the homodiegetic narrator into the heterodiegetic one is purely transtextual, it is complicated, firstly, by the juxtaposition of the rewritten text in the third-person and quotations in the (original) first-person; secondly, by the front-man singer impersonating both voices, using both pronouns and dressed as the Ancient Mariner on stage while telling the latter’s story; and, thirdly, by the audience singing the lyrics and quotations in live performances, while at the same time impersonating the “death-fires” and “elfish lights” of the sea with their lighters or cell-phones. This presentation does not mean to reinvent the wheel by saying that adaptations, be they musical, filmic or graphic, necessarily entails some loss, simplification or reinterpretation due to the change of medium or semiotic system, but, on the contrary, to show that these adaptations may lead to a more complex, even richer, experience of the original text, first by unsettling the audience’s literary markers (provided they had any), and, secondly, by turning the experience into a multidimensional one, not so much because music and visual effects are added to a text, but because the multitude of viewpoints may cause cognitive perturbations or vibrations, as in a trip. Additional references to graphic adaptations of literary works may show other instances of intermedial perturbation.  

The Silver Tassie (2000) by Mark-Anthony Turnage and Amanda Holden: an intermedial and operatic adaptation of Sean O'Casey's play.

HEBERLE, Jean-Philippe, Professor, Université de Lorraine, IDEA

The British composer Mark-Anthony Turnage has to date composed eight operas: Greek (1988), Twice Through the Heart (1997), Country of the Blind (1997), The Silver Tassie (2000), Anna Nicole (2011), Coraline (2018), Festen (2025), and The Railway Children (2025). Many of these are operatic adaptations of pre-existing texts, while others transpose media already belonging to the performing arts—such as theatre or cinema—into opera. Among the latter are the adaptation of a film (Festen by the Danish director Thomas Vinterberg) and that of two plays (Greek by the British playwright Steven Berkoff and The Silver Tassie by the Irish playwright Sean O’Casey). In this paper, I shall focus on The Silver Tassie, more specifically on the adaptation of the Irish author’s play into opera through the combination of music (Mark-Anthony Turnage) and libretto (Amanda Holden), which is thus a rewriting of O’Casey’s play. I shall examine the interaction between music and text, but also how this differs from the play, since it also includes, in part, songs. We shall see how Turnage does or does not integrate these songs into his opera, the text of which, by its very nature and unlike the source text, is entirely sung. This paper will also examine how the opera is received by the audience, and I will attempt to explore how the addition of music transforms our perception of the play; in other words, I will focus on the various types of sensory stimulation evoked by this operatic adaptation of O’Casey’s text.

 Lunch Break

Session 7: Words, Sounds and Pictures, FLSH, UHA: salle Ganjavi (210). 14h

Entendre pour mieux voir : la texture aurale du gothique

Lucie RATAIL, PRAG, Université de Lorraine

Genre du sensible et du sensationnel, le gothique éveille chez ses lecteurs une pluralité d’émotions par le biais d’un tissu de sensations idéales (fictives) d’une grande richesse. Parmi leurs principales stratégies narratives, ces récits comptent la manipulation du champ du visible. A la picturalité et à l’impression pittoresque des scènes relevant du beau, répondent l’ombre et l’aveuglement lors des scènes les plus sublimes et angoissantes. Pour faire face à ce fond sensible instable, c’est l’ouïe qui prend alors le relai de la vue afin de peindre à l’esprit et au corps des personnages les objets dérobés, masqués ou cachés. Les stimuli auditifs détaillent par touches aurales les mouvements et les émotions de leurs sources : un chant mélancolique peint le portrait de son chanteur, et tout bruit acousmatique informe l’auditeur sur les caractéristiques spatiales de la source, et acoustiques de son médium de production. Par le biais d’ekphraseis auditives, le récit permet alors de convoquer un riche tableau sonore à l’oreille (et à l’œil) des lecteurs, transgressant la dimension textuelle pour procurer aux histoires une portée synesthésique et cinématique. L’objectif de cette communication sera alors de délimiter l’efficacité picturale du sonore dans certaines scènes profondément aurales, en apparence dénuées de portée picturale. En d’autres termes, nous prendrons pour perspective centrale la paradoxale portée haptique du champ auditif et les limites de son efficacité à peindre plutôt qu’à évoquer un tableau essentiellement acoustique. Une première partie abordera cette question dans les contextes dits du « beau », du pastoral ou du pittoresque. Un second temps traitera ensuite de la perspective sublime et angoissante, permettant d’établir les recoupements et contrastes entre les deux principaux contextes du gothique, afin d’aboutir sur un questionnement de la visée intermédiale de transpositions et adaptations interartistiques subséquentes.

Genre Queer: the intermedial interventions of the Black Took Collective

Laura MULLEN, universitaire auteure et traductrice

Rejecting the set confines of genre, embracing multi-media improvisational performances, replacing the idea of the lone genius with a politically resonant model of aesthetic and emotional solidarity, the Black Took Collective (founded in 1999) offers an exemplary example of the ways in which the intermedial can be deployed to perturb and transform an art practice—and its reception. “Being not merely a collective...but simultaneously a movement-in-progress” (“A Call for Dissonance”), the poets Ronaldo V. Wilson, Dawn Lundy Martin, and Duriel Harris invented a presentation of poetry which blurs the line between creative reading, critical intervention, and cultural interrogation, in unsettling and unpredictable events involving video and recordings as well as performances of work either written previously or actually produced in front of the audience. Breaking rules both obvious and unacknowledged in order to expose the power dynamics and injustices those rules obscure or enable, the group’s deployment of the intermedial provides a model for a radically liberatory practice. Focused on the statements of the collective and records of their performances, as well as the work of the poets, this case study of the Black Took Collective will demonstrate effective ways the intermedial may be used to expand our perceptions of a particular literary genre, radically destabilizing expectations and widening possibilities for both artists and audiences.

 

Of int/ermedia. Poetics of the Sensible and Techniques of Perception

Jérôme GAME, poet and visual artist, HDR, Haute École des Arts du Rhin, Mulhouse

In this presentation I’d like to present what I call, within the framework of my poetic and artistic practice, "int/ermedial" or "trans/emiotic," namely a practice of different technical devices (from smartphones to the internet) capable, once brought into linguistic technique (that is to say, combined or retranslated into words), of heightening sensitivity in general. This method of back-and-forth between the perceptual body and language via specific techniques is detailed in one of the chapters of INTR/ANSITIF, the book I have recently published with Presses du Réel and which I have subtitled (this is important for our topic), "Poetics of the Interstice." As an opening to Q&A and to further embody my theoretical hypotheses, I will conclude this presentation with excerpts of my recent work across media (videopoem and sound poetry around AI).

 

  Keynote 2: Conférence Plénière 16h

Laurence GROVE, Professor, University of Glasgow

The Literary Canon is Dead…Long Live the Intermedial Canon

The literary canon, epitomised in France by the volumes of Lagarde et Michard and worldwide by the works of Harold Bloom, in many ways represented and promoted the antithesis of intermediality. But have the chronological lists of mono-format Great Books upon which the university syllabus used to depend all but disappeared? If so when, how and why did this happen? And is this where intermediality steps in? Drawing upon the specific example of Comics Studies, and upon diverse text/image case studies, I will suggest that one canon may have simply been replaced by others, and that, more importantly, the canons of 2026 are inevitably intermedial. And whilst addressing these questions, I will also propose the notion of Personal Journey Criticism, whereby the expression of our own lived experiences has become the acceptable norm, and one that must draw upon the intermediality of the world around us.

Closure of the Conférence / Clôture du colloque 17h