Based on the workshop with Mathilde Pellé.
Extract from the video essay.
For more info ⬇️ http://designparis1.com/?p=2738
https://shs.cairn.info/revue-sciences-du-design-2024-1?lang=fr
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
https://revue-azimuts.fr/numeros/56
📖 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 online 🔜
Syllabus ⬇️ 🔗 pratiques_informelles 🔗
Syllabus online 🔜
Syllabus online 🔜
"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.
documentation ⬇️ 🔗Reshaping our Digital Subjectivity 🔗
The "In media res" syllabus online 🔜
Syllabus online 🔜
Ambre Charpier is a doctoral candidate at the University of Paris 1 Panthéon-Sorbonne, a visual artist and educator based in Paris suburbs. Her research-led practice encompasses essays, installations, and moving images through which she investigates technology's paradoxical relationship with transparency, particularly in the context of what it is means to be visible or obscured in our computational culture. Her thesis work examines the intertwined histories of optical instruments, technological media and the occult with a focus on the aesthetic and political dimensions of the hidden, such as conspiratorial thinking and the concept of black boxes.
In addition to her research and artistic projects, Ambre teaches courses on media archaeology, image theory and visuality at ESAD Orléans and the University of Paris 1 Panthéon-Sorbonne. She a regular jury in international art school juries and serves as an editor and co-founder of the research platforms Design in Translation and Design, Arts, Médias. She contributes to various publications, including Païen Edition, Science du Design, Azimuts, and PLATISK.