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| − | [[Fichier:Design-et-politique-du-multiple duckrabbit.jpg|vignette]]
| + | == Cinéma d'animation (B1-B2-B3) == |
| | + | ''relational time based practices'' |
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| − | {{English|Design and Politics of the Multiple (MA)}}
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| − | Enseignant/Coordination : [[Renaud Huberlant]]
| + | Enseignants : [[Monsieur Pimpant]], [[Alexander Schellow]] |
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| − | Intervenant.e.s - séminaire : [[Didier Demorcy]][[Maryam Kolly]]
| + | Workshop 6 animationsmall.jpg |
| | + | What is animation ? We address this question not only as a work-internal and/or technical concern, but eminently as a shifting concept, that has to be shaped through and within the very frame of a shared working space – in the individual practices, such as in the process of collective decision-making and realization of its aethetical, pedagogical and political distinctions. |
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| | + | Such general approach has a huge impact on the cocretely applied (self-)teaching/learning methodologies : it is not that the techniques make up a body of knowledge that is passed on to the students. But the work consists – practically from the beginning in BAC01 on, and more and more intensified towards BAC03 and MA – in identifying together the concepts, concerns and related demands of what is slowly shaping as each student’s practice. Those are critically reflected in close discussion with the teachers, but also in feedback-constellations with other students, that transgress the borders between bacchalor-, master- and phd-students, and namely between student- and teacher-position, towards an open form of collaboration. |
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| − | Cours liés : [[Séminaire Politique et expérimentation graphiques]], [[Etudes des artefacts]]
| + | The primarily multi-individual path is accompanied by collective propositions : live animation sessions, for example in dialogue with invited musicians, or regular workshops and interventions by external visiting artists allow for perspective-shifts and practical experiences within different „worlds“ of developed animation-related practices. From research-groups and –projects to particpation in occupations, from open screenings and regular collective work-dinners (‚colloqs’) hosted in different private appartments to works ‚on site’ as factual displacements (Tirana, Brussels, Marseille etc.) – we intend to stress the borders of an experiment „animation school“ to a point, where animation rather than being considered a technic is explored as a way to (inter)act within a world. |
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| | + | [A selection of some traces of student works realized in the department can be discovered here : |
| | + | https://drive.google.com/file/d/13pnRhDXUYH2CtPLwVYmIP1AwzOqwGC7W/view?usp=sharing |
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| − | Le master Design et Politique du Multiple ouvre un champ d’études sur la recherche en et par la pratique du design (Huyghe, 2017). Ce master engage les étudiant-e-s dans le développement d’un projet personnel à partir d’une hypothèse de travail soutenue d’un point de vue critique. Il implique de considérer la responsabilité du-de la designer dans la construction des discours, des images, des savoirs et, par ce biais, de mesurer son rôle actif dans le découpage des structures culturelles, sociales et politiques de notre monde.
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| − | Si la notion de design est centrale au master, il s’agit moins d'une méthode tournée vers la recherche de solutions qu'une exploration des potentiels du dissensus, entendu comme lieu de création d’un monde sensible différent (Rancière, 2018). Le design considéré comme politique du multiple. Lier multiple et politique, c’est, d’une part, questionner la force politique des subjectivités multiples, fragmentées, non-fixées dans des identités immuables, et c’est, d’autre part, questionner la capacité d’agir des multiples - ces objets sériels « inanimés » du design.
| + | https://www.youtube.com/watch?v=AJT3JP3NAog&t=12799s |
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| − | Parmi les disciplines du design, nous souhaitons aborder plus spécifiquement les pratiques éditoriales. L’édition est à considérer, ici, dans un sens élargi. Elle implique un ensemble d’opérations de réagencement, de traduction, de montage, de mise en forme et de reproduction. Elle s’étend, en tant que pratique du montage, de l’imprimé au numérique, de l’image fixe à l’image en mouvement, de la mise en page à la mise en espace.
| + | [[catégorie:B1]] |
| − | | + | [[catégorie:B2]] |
| − | Le master croise les apports du design, de l’art, à ceux, théoriques, de la philosophie des sciences, des études culturelles, féministes et postcoloniales. Les étudiant-e-s sont amené-e-s à explorer les rapports de domination dans les processus de transmission des récits historiques et de construction de mémoires collectives. Durant le cycle 2018/2020, les étudiant-e-s partageront le fruit de leurs recherches avec un ensemble d’invité-e-s et d'enseignant-e-s.
| + | [[catégorie:B3]] |
| − | "At issue is the claim that the machines, structures, and systems of modern material culture can be accurately judged not only for their contributions of efficiency and productivity, not merely for their positive and negative environmental side effects, but also for the ways in which they can embody specific forms of power and authority." Langdon Winner, Do Artefacts Have Politics?
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| − | "(...) To convert an object into something else. To capture the force inherent to every single matter or being. This constituted the ultimate form of power and agency" Achille Mbembé, about old african cognitive world in Time on the Move
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| − | bibliographie
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| − | * - M.K. Abonnenc, L. Arndt, C. Lozano, Collecte coloniale et affect ramper dédoubler, B42, 2016.
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| − | * - S. Berrebi, The Shape of Evidence, Amsterdam, Valiz, 2014, «Art Work, Document, Monument», p.37.
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| − | * - H. Bhabha. Les lieux de la culture. Une théorie postcoloniale, Paris, Payot, 2007 (trad. de The Location of Culture (trad. par Françoise Bouillot).
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| − | * - J. Bolter, R. Grusin, Remediation. understanding new media, MIT press, 2000.
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| − | * - J. Butler, Gender Trouble, Routledge, 1990.
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| − | * - K. Crenshaw. «Why intersectionality can’t wait», sur https://www.washingtonpost., consulté le 20/12/2017.
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| − | * - S. Delecourt, K. Schneller, V. Theodoropoulou, Le chercheur et ses doubles, B42, 2015.
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| − | * - H. Foster, Design & crime, les prairies ordinaires, 2008.
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| − | * - H. Foster, Vision and visuality, Bay Press, 1988.
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| − | * - T. Garcia, Nous, Figures/Grasset, 2016.
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| − | * - E. Glissant, Poétique de la Relation, Gallimard, 1990.
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| − | * - S. Hall, Identités et cultures. politiques des cultural studies, (3e éd., édition établie par Cervulle M., traduit par Jacquet C.) Paris, éditions Amsterdam, 2017.
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| − | * - M. Hirsch, «The Generation of Postmemory. Writing and Visual Culture After the Holocaust», Columbia University Press, 2012.
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| − | * - P. D. Huyghe, Contre-temps. De la recherche et de ses enjeux : arts, architecture, design, B42, 2017.
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| − | * - A. Jaunait et S. Chauvin. « Représenter l’intersection » Les théories de l’intersectionnalité à l’épreuve des sciences sociales, Revue française de science politique, 2012/1 Vol. 62, p. 05-20.
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| − | * - A. Lantenois, Le vertige du funambule, B42, 2013.
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| − | * - A. Mbembe, Critique de la raison nègre, La Découverte (« Cahiers libres »), 2013.
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| − | * - Metahaven, Black Transparancy The Right to Know in the Age of Mass Surveillance, Sternberg Press, 2015.
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| − | * - W.J.T. Mitchell, Que veulent les images?, les presses du réel, 2004.
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| − | * - N. Mirzoeff, The Visual Culture Reader, Routledge, 1998.
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| − | * - J. Rancière. A. Jdey, La méthode de la scène, Lignes, 2018.
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| − | * - J. Rancière, Le destin des images, La fabrique éditions, 2016.
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| − | * - E. Saïd. L'Orientalisme. L'Orient créé par l'Occident, traduction de Catherine Malamoud, préface de Tzvetan Todorov, Le Seuil, 1980.
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| − | * - J.K. Shaw, T. Reeves-Evison, Fiction as method, SternbergPress, 2017.
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| − | * - C. Van Winkel, « Information and visualisation: the artist as designer in During the Exhibition the Gallery Will be Closed », Valiz, Amsterdam, 2012, p 133 —201.
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| − | * - L. Winner, "Do Artifacts Have Politics?" in Daedalus, Vol. 109, No. 1, 1980.
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| − | * - La Grande table (2ème partie). (2015, 3 juin). Qu’est-ce que la Forensic architecture ?
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| − | * https://www.franceculture.fr/
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| − | [[Catégorie:M1]] | |
| − | [[Catégorie:M2]] | |
| − | [[Catégorie:Ateliers pluridisciplinaires (MA)]] | |
Cinéma d'animation (B1-B2-B3)
relational time based practices
Enseignants : Monsieur Pimpant, Alexander Schellow
Workshop 6 animationsmall.jpg
What is animation ? We address this question not only as a work-internal and/or technical concern, but eminently as a shifting concept, that has to be shaped through and within the very frame of a shared working space – in the individual practices, such as in the process of collective decision-making and realization of its aethetical, pedagogical and political distinctions.
Such general approach has a huge impact on the cocretely applied (self-)teaching/learning methodologies : it is not that the techniques make up a body of knowledge that is passed on to the students. But the work consists – practically from the beginning in BAC01 on, and more and more intensified towards BAC03 and MA – in identifying together the concepts, concerns and related demands of what is slowly shaping as each student’s practice. Those are critically reflected in close discussion with the teachers, but also in feedback-constellations with other students, that transgress the borders between bacchalor-, master- and phd-students, and namely between student- and teacher-position, towards an open form of collaboration.
The primarily multi-individual path is accompanied by collective propositions : live animation sessions, for example in dialogue with invited musicians, or regular workshops and interventions by external visiting artists allow for perspective-shifts and practical experiences within different „worlds“ of developed animation-related practices. From research-groups and –projects to particpation in occupations, from open screenings and regular collective work-dinners (‚colloqs’) hosted in different private appartments to works ‚on site’ as factual displacements (Tirana, Brussels, Marseille etc.) – we intend to stress the borders of an experiment „animation school“ to a point, where animation rather than being considered a technic is explored as a way to (inter)act within a world.
[A selection of some traces of student works realized in the department can be discovered here :
https://drive.google.com/file/d/13pnRhDXUYH2CtPLwVYmIP1AwzOqwGC7W/view?usp=sharing
and
https://www.youtube.com/watch?v=AJT3JP3NAog&t=12799s