French translation of BROWN, Bill, Materiality, in HANSEN, Mark et MITCHELL, William John Thomas (éds), "Critical Terms For Media Studies", Chicago, University of Chicago Press, coll. « critical terms », 2010, p. 49-62.
All of entries were written by ENS LYON students in the art departement, and supervised by Occitane Lacurie
available here 🔗le bruit des images🔗 thanks to the wonderful artist Ellie Wyatt for discussing her works with us xx
buy the book here : L'homme qui collectionnait les tombes
Cycle de conférence-recherche du Master MAC et Esthétique
You can request the syllabus at ambre [dot] charpier [at] univ [figure dash] paris1 [dot] fr
📖 Variation continue https://plastik.univ-paris1.fr/variation-continue-la-manie-autoreferentielle-des-images-contemporaines/
Extract : "Recently, this Glasnost logic has hit American political parties hard; as the battle over the possession of classified documents rages on between Republicans and Democrats - Trump's Mar-a-lago scandal and Biden's Think-tank scandal - we find that the content of the documents fanning the fratricidal war are hardly discussed (a dark tale of Middle Eastern espionage?), only whether or not these documents are partially or fully declassified, whether or not they pose a threat to the nation's security. In the end, it's all about the visibility of the invisible, the performativity of secrecy and its exposure in redacted documents that bear the marks of these rituals of veiling/unveiling: crossed-out words, long black lines that partially conceal paragraphs of text that are, in the final analysis, not very evocative. The revelations of investigative journalism, which expose the corruption of power hierarchies ranging from favoritism to insider trading, continue to pile up in the endless piles of documents yet to be examined by overburdened citizens trying to make sense of the inner workings of state and private authorities. These secrets - in the explicit form of redacted documents, partially masked screenshots and other iconic representations - that circulate in all spheres of the web clearly demonstrate that the era of free information exchange and hypervisibility has engendered that strange aesthetic phenomenon that critic Pamela Lee calls "Open secret" and defines as a "visible invisibility .... that functions less to reveal than to declare the prerogatives of those who conceal." In this case, the sensation of revealing hidden content is in fact merely a disclosure of obstructive intentions that are, in a collective public consciousness, already known." A paraitre !
Syllabus online 🔜
Syllabus ⬇️ 🔗Les machines imaginaires : méthodes et esthétiques de l’archéologie des média 🔗
Syllabus online 🔜
French translation of BROWN, Bill, Materiality, in HANSEN, Mark et MITCHELL, William John Thomas (éds), "Critical Terms For Media Studies", Chicago, University of Chicago Press, coll. « critical terms », 2010, p. 49-62.
"Il est difficile d’ailleurs, pour descendre d’une strate supplémentaire, de saisir où commence et quelle est la matérialité des signes et représentations qui structurent nos images, sons, vidéos et textes. Est-ce la lettre, sa forme, son référent ou sa traduction par une multitude d’interfaces interopérantes, du BIOS18, des composants électroniques individuels, de l'électricité qui y circulent, des minerais et plastiques vers lesquels nous devrions nous tourner, afin de saisir ce qu’est le médium ?"
"Cette prédation de l'histoire et cette guerre civile planétaire guident Hito Steyerl dans l'ouvrage où elle dresse plus généralement un constat sombre, pour ne pas dire franchement dystopique, des technologies contemporaines. Elle y dépeint dans l'essai Proxypolitique : signal et bruit, des médias communicants abêtissant des foules délirantes, elles-mêmes lentement remplacées sur le web3, blockchained, par des bots à leur image commissionnés à déclencher stratégiquement des conflits armés du bout d'un clic par tweets interposés pour des états profonds."
with the collaboration of [Débordements]() and Le Cinéma St André des Arts
Syllabus ⬇️ 🔗 pratiques_informelles 🔗
Syllabus online 🔜
Syllabus online 🔜
Syllabus online 🔜
documentation ⬇️ 🔗Reshaping our Digital Subjectivity 🔗
"Based on an analysis of texts produced in different disciplines - design, philosophy, sociology - we will question the notion of program. We will explore the material reality of programs, the impact of programmatic logic and the repercussions of this logic on the common imagination, through a presentation of discourses, films and artifacts. From program operators in military complexes, to programs that decide the future of the workforce and those that mimic the dead, students will participate in case studies that trace the social, cultural and political role of programs and communicating devices, in order to establish a project that problematizes the issues raised during the course."
Sadly, no syllabus for this course.
The "In media res" syllabus online 🔜
Syllabus online 🔜
Ambre Charpier is an art researcher, artist and art critic based in Paris suburbs. After two master's degrees in arts and in design at the Université Paris 1 Panthéon-Sorbonne, she pursued her reflections on technological mediation and contemporary occulture in her doctorate thesis.
She is a member of the editorial and organizational committees of the scientific journals Design, Arts, Médias and Design in Translation. In parallel, she is sometimes invited to speak at symposium but more often writes, notably theoretical texts and essays on contemporary art, its precarization in the age of platform capitalism and algorithm's imagination. She teaches most of the time @ESAD Orléans and Sorbonne Art School.
She participates in para-university events with the young researchers' groups Pratiques Spectrales and Hoosh.