Abstract
The importance of the body in Étienne-Jules Marey's research may seem obvious : the walking man, the trotting horse, the bird and the insect in flight are the privileged objects of the graphic method and chronophotography. Beyond this, the scientist's own body is central to the scientific experiment and the analysis of its results. Using the concrete practices of Marey and his collaborators as a starting point, we'll show how the devices they put in place establish a body-to-body relationship essential to the constitution of chronophotographic knowledge.
