{"id":33,"date":"2021-01-04T14:48:50","date_gmt":"2021-01-04T14:48:50","guid":{"rendered":"http:\/\/annedubos.com\/?page_id=33"},"modified":"2026-02-25T14:18:04","modified_gmt":"2026-02-25T14:18:04","slug":"publications","status":"publish","type":"page","link":"https:\/\/annedubos.com\/index.php\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"33\" class=\"elementor elementor-33\" data-elementor-settings=\"[]\">\n\t\t\t\t\t\t<div class=\"elementor-inner\">\n\t\t\t\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-63c1004e elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"63c1004e\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-6f3750e5\" data-id=\"6f3750e5\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-2e99e14c elementor-widget elementor-widget-text-editor\" data-id=\"2e99e14c\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\"><p><!-- wp:image {\"id\":327,\"sizeSlug\":\"large\",\"linkDestination\":\"none\"} --><\/p>\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" class=\"wp-image-327\" src=\"http:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-1024x768.jpg\" alt=\"\" srcset=\"https:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-1024x768.jpg 1024w, https:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-300x225.jpg 300w, https:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-768x576.jpg 768w, https:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-1536x1152.jpg 1536w, https:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-2048x1536.jpg 2048w, https:\/\/annedubos.com\/wp-content\/uploads\/2021\/02\/geste-720x540.jpg 720w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<p><!-- \/wp:image --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":\"14px\"}}} --><\/p>\n<p style=\"font-size: 14px;\"><strong><br><\/strong>TH\u00c8SE&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2013<\/p>\n<p>\u00ab Quelle voix pour quels th\u00e9\u00e2tres ? Fabrication des corps et des identit\u00e9s. Pour une \u00e9tude du mouvement dans les th\u00e9\u00e2tres contemporains au K\u00e9rala. \u00bb CEIAS, UMR 8564, EHESS Paris.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>DIRECTION DE PUBLICATION&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2016&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Avec Antonella Tufano : Predictive Studio Journal, <em>Tomorrow is back<\/em>, n\u00b00, Labex CAP, H\u00e9sam, Paris, Gerphau, ENSAPLV, Paris.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2015&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Avec Yann Schmitt \u00ab Capter le rite, filmer le rituel \u00bb, <em>Th\u00e9or\u00e8mes n\u00b07, enjeux des approches empiriques des religions<\/em>, Universit\u00e9 de Gen\u00e8ve, revue en ligne : http:\/\/theoremes.revues.org.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>CHAPITRES D&#8217;OUVRAGES&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2021&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab La Gestoth\u00e8que in Translation. From Body Techniques to Technologies and Back \u00bb, <em>in <\/em>Buchanan Ian, George Varghese, N.Y. Manoj (eds.) <em>Deleuze, Guattari and India : Exploring a Post-postcolonial Multiplicity,<\/em>Taylor and Francis.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2020<\/p>\n<p>\u00ab Habiter la pente du Vercors. Paysages ludiques, habitat p\u00e9riurbain et pratiques r\u00e9cr\u00e9atives \u00bb, in Florent Cholat, Matteo Colleoni, Luca DaConto<em>. <\/em>(eds.), <em>Vivere La Montagna<\/em>, FrancoAngeli, Milano, pp. 102- 111.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2019<\/p>\n<p>\u00ab Intensitom\u00e9trie \u00bb in Fourny, Marie-Christine, et Romain Lajarge (eds.), <em>Les sans mots de l&#8217;habitabilit\u00e9 et de la territorialit\u00e9, <\/em>UGA \u00c9ditions.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab Ludo-paysages \u00bb, in Fourny, Marie-Christine, et Romain Lajarge (eds.), <em>Les sans mots de l&#8217;habitabilit\u00e9 et de la territorialit\u00e9, <\/em>UGA \u00c9ditions.&nbsp;<\/p>\n<p><!-- \/wp:image --><!-- wp:paragraph --><\/p>\n<p>\u00ab L\u2019ambiance n\u2019a pas de c\u00f4t\u00e9, Paysages et corps sensibles. \u00c0 propos des ambiances co-g\u00e9n\u00e9r\u00e9es par l\u2019usage des technologies num\u00e9riques \u00bb <em>in <\/em>V\u00e9ronique Mehl et Laura P\u00e9aud (eds.), <em>Paysages Sensoriels, <\/em>Presses Universitaires de Rennes.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab Des motifs al\u00e9atoires. Performance, pratique de recherche, \u00e9criture de cr\u00e9ation \u00bb, in Marc Henry Soulet (\u00e9d.) <em>Action et Incertitude. Les \u00e9preuves de l\u2019incertain. <\/em>B\u00e2le, Schwabe, Verlag, pp. 335-363.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>ARTICLES, REVUES \u00c0 COMIT\u00c9 DE LECTURE&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2026<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab Smartphones, gestes et interfaces. Pour un catalogue de gestes augment\u00e9s \u00bb, <em>Corps<\/em>, CNRS \u00c9ditions,&nbsp; Paris.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab On Sounding Bodies \u00bb, <em>Revue Anthropologica<\/em>, Canadian Anthropology Society.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2025&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u201cGestures of Care, the value of a mother\u2019s love\u201d, <em>Azimuth<\/em>, <em>International Journal of Philosophy<\/em>, Inschibboleth edizioni, Rome, Italy.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab Sonographies ou le silence des usines \u00bb, <em>Communications <\/em>n\u00b0116, Le Seuil, Paris.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2017&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>\u00ab Chamanisme, avatars et immersion, des processus et des relations \u00bb, <em>\u00c9tudes Digitales, Le Texte \u00e0 Venir, <\/em>\u00c9ditions Classiques Garnier.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2016<\/p>\n<p>\u00ab \u00c0 propos d&#8217;Eleven, \u00e9critures de cr\u00e9ation, pratiques de recherche \u00bb <em>Autre Part 2<\/em>, IRD, (2016) : 163-181&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2013<\/p>\n<p>\u00ab Chandradasan ou la pratique d\u2019un th\u00e9\u00e2tre de l\u2019alternative. Quels enjeux sont li\u00e9s \u00e0 la reconnaissance des arts vivants contemporains au Kerala (Inde du Sud), <em>Culture Kairos<\/em>,<br>Revue d\u2019anthropologie des pratiques corporelles et des arts vivants, Paris, MSH&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>ACTES&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2019&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Avec Jan Schacher: The Calder Effect, Embodied Knowledge Through Moving Images, Proceedings of the 7th International Symposium on Movement and Computing (MOCO\u201919), Tempe University, Arizona, ACM, New York, NY.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2018<\/p><p>Avec Fr\u00e9d\u00e9ric Bevilacqua, Joseph Larralde, Jo\u00ebl Chevrier et Jean-Fran\u00e7ois J\u00e9go &#8220;Designing gestures for interactive systems. Towards Multicultural Perspective&#8221;. In: R. Bernhaupt et al. (Eds.): <em>INTERACT 2017, Part IV<\/em>, LNCS 10516, pp. 524\u2013526. Springer International Publishing: Cham, Switzerland; DOI: 10.1007\/978-3-319-68059-0&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>2016<\/p>\n<p><br>Avec Jean-Fran\u00e7ois J\u00e9go : \u00ab Rocks Art Rocks Me, for a catalogue of lost gestures \u00bb, Proceedings of the 3rd International Symposium on Movement and Computing (MOCO\u201916), Thessaloniki, Greece. ACM, New York, NY.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Avec Olivier Jeudy \u00ab De la Gestoth\u00e8que au Port Nord. \u00c9tudes pour ambiances patrimoniales industrielles \u00e0 venir \u00bb, Nicolas R\u00e9my (dir.) ; Nicolas Tixier (dir.). Ambiances, tomorrow. University of Thessaly, vol. 2, p. 891 &#8211; 896, 2016.&nbsp;<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":\"14px\"}}} --><\/p>\n<p style=\"font-size: 14px;\">2015<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">Avec Laura Silvestri : \u00ab Peut-on \u00e9duquer la perception? Propositions anthropologiques sur une pratique martiale de l\u2019Inde du Sud \u00bb (Can we educate perception? anthropological proposals martial practice of South India),&nbsp;<em>Wushu Fondation<\/em>, Paris, France.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">\u00ab The importance of the eye in Kalarippayattu \u00bb Part 1 :&nbsp;<a href=\"http:\/\/allegralaboratory.net\/the- importance-of-eyes-in-kalari-practice-part-1-body\/\">http:\/\/allegralaboratory.net\/the- importance-of-eyes-in-kalari-practice-part-1-body\/<\/a>&nbsp;Part 2&nbsp;:<a href=\" http:\/\/allegralaboratory.net\/the- importance-of-the-eyes-in-kalari-practice-an- interview-with-sathyan-narayanan-gurukkal- part-2\/\"> http:\/\/allegralaboratory.net\/the- importance-of-the-eyes-in-kalari-practice-an- interview-with-sathyan-narayanan-gurukkal- part-2\/<\/a>&nbsp;<em>Allegra, the virtual lab of legal anthropology<\/em> (http:\/\/allegralaboratory.net)<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\"><strong>2013<\/strong><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">Dubos Anne : \u00ab Chandradasan ou la pratique d\u2019un th\u00e9\u00e2tre de l\u2019alternative. Quels enjeux sont li\u00e9s \u00e0 la reconnaissance des arts vivants contemporains au Kerala (Inde du Sud) ? \u00bb&nbsp;<a href=\"http:\/\/revues.mshparisnord.org\/cultureskairos\/index.php?id=720\">http:\/\/revues.mshparisnord.org\/cultureskairos\/index.php?id=720<\/a>&nbsp;in&nbsp;<em>Culture Kairos<\/em>, Revue d\u2019anthropologie des pratiques corporelles et des arts vivants, MSH, Paris, France.<\/p>\n<p style=\"font-size: 14px;\"><strong>INTERVIEWS<\/strong><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\"><strong>2020<\/strong><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">Avec Anne Diatkine : &#8220;Leur p\u00e8re ne conna\u00eet pas encore ses enfants, il ne sait rien de leur odeur&#8221; <em>Lib\u00e9ration, <\/em>5 mai 2020.<br><a href=\"https:\/\/www.liberation.fr\/france\/2020\/05\/05\/leur-pere-ne-connait-pas-encore-ses-enfants-il-ne-sait-rien-de-leur-odeur_1787369\/\">https:\/\/www.liberation.fr\/france\/2020\/05\/05\/leur-pere-ne-connait-pas-encore-ses-enfants-il-ne-sait-rien-de-leur-odeur_1787369\/<\/a><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">Avec Alain Dreyfus : &#8220;Distanciation sociale, une nouvelle chanson de gestes&#8221;, <em>Le Nouveau Magazine Litt\u00e9raire<\/em>, 29 Mai 2020, pp: 58-50.<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\"><strong>2016<\/strong><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">Avec Natacha Nisic : \u00ab Pr\u00e9sences et d\u00e9placements. Le ciel d\u2019Andrea ; entretien avec Natacha Nisic \u00bb, in&nbsp;<em>Th\u00e9or\u00e8mes, enjeux des approches empiriques des religions<\/em>, Universit\u00e9 de Gen\u00e8ve (<a href=\"http:\/\/theoremes.revues.org\">http:\/\/theoremes.revues.org<\/a>).<\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\"><strong>2013<\/strong><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph {\"style\":{\"typography\":{\"fontSize\":14}}} --><\/p>\n<p style=\"font-size: 14px;\">Avec Albert Piette : \u00ab Le voile du croire, entretien avec Albert Piette \u00bb,&nbsp;<a href=\"http:\/\/theoremes.revues.org\/500\">http:\/\/theoremes.revues.org\/500<\/a>,&nbsp;<em>Th\u00e9or\u00e8mes, enjeux des approches empiriques des religions<\/em>, Universit\u00e9 de Gen\u00e8ve (<a href=\"http:\/\/theoremes.revues.org\">http:\/\/theoremes.revues.org<\/a>).<\/p>\n<p><!-- \/wp:paragraph --><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>TH\u00c8SE&nbsp; 2013 \u00ab Quelle voix pour quels th\u00e9\u00e2tres ? Fabrication des corps et des identit\u00e9s. Pour une \u00e9tude du mouvement [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-33","page","type-page","status-publish","hentry","col-lg-4 col-md-6"],"_links":{"self":[{"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/pages\/33","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/comments?post=33"}],"version-history":[{"count":21,"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/pages\/33\/revisions"}],"predecessor-version":[{"id":2894,"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/pages\/33\/revisions\/2894"}],"wp:attachment":[{"href":"https:\/\/annedubos.com\/index.php\/wp-json\/wp\/v2\/media?parent=33"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}