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| | + | The spaces of production and action are diversifying. The first years are the time of the maximum experimentation of these places. Experiment what a workshop is: a computer, a table, a stage, a kitchen. Not only are the courses multidisciplinary workshops, but also the school premises themselves can become multidisciplinary: auditorium, specific classrooms, cafeteria, exhibition spaces. The plastic realization of ideas, projects, orders, acts of communication is a process that happens, that operates in its very realization. We have to go through this: imagine, do, see, say. The risk of students exploring areas outside textbooks of any kind should be supported. In order to be able to ask the question of production conditions, it is a question of opening up and understanding the tools they have in their hands: softwares, pigments, typographies, films, voices, etc. Is the form determined by history, computer companies, technical limitations, economic means, the workplace? |
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| − | ==Technical courses in Bachelors==
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| − | *'''From the artwork to the print'''
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| − | Professor: [[Nicolas Storck]]
| + | ==Technical courses in Bachelors== |
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| − | ENG coming soon
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| − | *'''Internet and programming'''
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| − | Professor: [[Stéphane Noël]]
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| − | ENG coming soon
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| − | *'''Basic techniques, drawing'''
| + | [[From Work to Print]] |
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| − | Professor: [[Gérard Goffaux]]
| + | [[Internet and programming]] |
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| − | This course allows the students to famiiarize themselves with different drawing techniques, offering a whole range of possibilites that will provide them a better grasp on their various projects. A focus is also placed on more leftfield techniques such as monotypes or scratch cards.
| + | [[Drawing: basic techniques (B1)]] |
| − | In Bac 1, the works are dedicated to the use of black and white.
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| | *'''Writing''' | | *'''Writing''' |
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| | The course is focused on the de-construction of writing mechanisms and of the practice of language as a material. Various contemporary writing practices are approached through the reading of texts and the exploration of the relation between writing and orality, body, and images. | | The course is focused on the de-construction of writing mechanisms and of the practice of language as a material. Various contemporary writing practices are approached through the reading of texts and the exploration of the relation between writing and orality, body, and images. |
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| − | *'''Color: analysis and contextual practices'''
| + | [[Color: Analysis and Contextual Practices]] |
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| − | Professor: [[Bernadette Kluyskens]]
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| − | Encouraging the study and the practice of color through a prospective, observatory attitude and pluridisciplinary analyses. Developing a culture of color in which the gaze takes shape and is at stake.
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| − | Deciphering, questioning issues in the context of a personal practice.
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| − | *'''Film-video'''
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| − | Professor: [[Ines Rabadan]]
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| − | Tell us something we don’t know.
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| − | These words by Barbara Kruger will be at the starting point of this course. Other quotations will punctuate the course, associated with experimental, art-house, and mainstream films.
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| − | The main question we will approach is the following: how do we create images when we are living in an ocean of images, how to tell a story when we find ourselves in a forest in which every leaf bears an inscription?
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| − | *'''Basic techniques: drawing'''
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| − | Professor: [[Gérard Goffaux]]
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| − | Description coming soon
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| − | *'''Digital utensils'''
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| − | Professor: [[Stéphanie Vilayphiou]]
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| − | Description coming soon
| + | [[Film-Video (B2)]] |
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| − | *'''Digital programming'''
| + | [[Film-Video (B3)]] |
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| − | Professor: [[Lionel Maes]]
| + | [[Digital utensils]] |
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| − | This course approaches computer codes as omnipresent tools demanding to be understood, studied, twisted, and diverted as a creative, committed individual. A focus will be placed on the emergence of singular writing forms, on understanding and confronting the fundamental notions of programming. By “teaching code-writing”, I intend to pass on the logics, symbols and structures shared by the specific programming languages that will be approached. The aim is to provide the sufficient keys to learn any language in an autonomous manner, to be able to analyze and compose algorithms, to structure and truly “write with code”. Each notion will be systematically studied in relation to contemporary scientific, artistic and graphic writing practices. This course is organized over two consecutive years (BAC 2 and BAC 3), and covers a series of languages linked to front-end (HTML, CSS, Javascript, SVG) or back-end web development (PHP, Python, XML, my SQL), linked to digital creation (Processing, Python, Openframeworks, Cinder) or physical computing (RaspberryPI, Arduino).
| + | [[Digital programming]] |
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| − | *'''Sound'''
| + | [[Sound (B2)]] |
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| − | Professor: [[Sylvie Bouteiller]]
| + | [[Sound (B3)]] |
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| − | Description coming soon
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| | *'''Writing: textual creation''' | | *'''Writing: textual creation''' |
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| | Professor: [[Brigitte Ledune]] | | Professor: [[Brigitte Ledune]] |
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| − | This course focuses on narrative modes and on the fundamental issues pertaining to the practice of writing in a broader sense, in the fields of literature, sound and digital creation, or visual arts: textual articulations and structuring/de-structuring, narrative as entertaining codified relations with time, individuals, and the functions of language, and so on. Emphasis is given to the historical and contemporary careers of authors, critics, artists or semiologists with regard to their relation to writing.
| + | [[Commando Radio]] |
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| − | An implicit question concerns literature and literary thought: what are the effects of a text on its readers? May literature be considered as a form of knowledge?
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| − | The course may be summarized as follows:
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| − | - The forms and modes of contemporary narratives – genres of narrative contents, questioning the autobiography, intertextuality…
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| − | - The issue of reception; stylistic and rhetorical coding between the author and the reader. Reading in the face of writing.
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| − | - The experience of language. Each type of text/narrative is a language game. Re-examining literary experiments, history of the avant-gardes (Lettrism, Dadaism, and so on).
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| − | - Reflections on writing in the Internet age – new types of messages and the specific lexicon of electronic media. Figures of the new communication/distribution spaces.
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| − | *'''Film-video'''
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| − | Professor: [[Xavier Garcia Bardon]]
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| − | A journey through the history of film, starting from the turn of modernity. This course is based on a large quantity of screenings: fictions, documentaries, avant-garde cinema, militant film, artist’s films… While a contextual introduction will be provided before each screening, all these documents will serve as starting points for a shared study. These films will allow us to approach notions such as the issue of the relation between film and reality, the relation between film and other arts or practices, the defining specificities of the medium, the status of the author… Guests (artists, critics, programmers) will be regularly invited to present and discuss their work.
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| − | *'''Sound'''
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| − | Professor: [[Laurent Baudoux]]
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| − | Description coming soon
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| − | *'''Commando radio'''
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| − | Professor: [[Hélène Bernard]]
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| − | Description coming soon
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| | ==Technical courses in Master== | | ==Technical courses in Master== |
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| − | *'''Internship'''
| + | [[Internal Internship]] |
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| − | Each student will take part in a mandatory internship from 3 to 6 weeks. The internship period cannot overlap evaluation, workshop assessment and theoretical examination periods.
| + | [[Experimental writing]] |
| − | The internship must have a direct relation with the student’s studies and artistic orientations, within a chosen place or structure located outside the school. As graphic designers, artists, or narrators, students offer their services to an association, an institution, a company or an artist. An active participation from the students is expected.
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| − | Interns must be able to come back to erg at any stage of the internship in the event of imperative reasons related to programs, examinations, classes, or to the general organization of the school.
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| − | The students will inform all their professors in advance about their internship schedule.
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| − | *'''Experimental Writing'''
| + | [[Writing as material, materials of writing]] |
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| − | Professor: [[Antoine Boute]]
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| − | 1/ A perspective on writing techniques from a reflexive, theoretical and conceptual point of view. This “theoretical” section of the course includes practical exercises.
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| − | 2/ Exercises exploring various techniques and approaches of writing. Students will develop a critical and reflexive practice in relation to their personal approaches, and will articulate abstract issues stemming from concrete practices. In the medium term, they will elaborate a reflection linked to the final dissertation. These exercises will lead to various publications.
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| − | 3/ Using other language practices, mainly linked to spoken language. Readings and performances will help develop a reflection and a language practice outside the field of textuality.
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| − | *'''Writing Material'''
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| − | Professor: [[Raya Lindberg]]
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| | *'''Dissertation Follow-Up''' | | *'''Dissertation Follow-Up''' |
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| | Professor: [[Brigitte Ledune]] | | Professor: [[Brigitte Ledune]] |
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| − | The dissertation follow-up is articulated around individual meetings allowing the students to define and give structure to their research subject through a methodological approach specific to their personal practice.
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| − | The different steps are as follows:
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| − | - problematizing the research (formulating the subject, circumscribing the field of research, developing hypotheses)
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| − | - establishing and refining sources: bibliography, oral, written, pictorial sources…
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| − | - implementing a methodology specific to the project (theoretical/plastic procedures, relevant associations of diverse sources, personal research through a writing strategy drawing from historical and factual knowledge, analyses, meetings, and so on). Axes of writing: experience, practice, development of a theme, and so on.
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| − | - assistance and advice
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| − | This course does not focus on the concrete elaboration of the dissertation, which is down to the students and their promoter, but is conceived as a space for sharing methodological and practical indications.
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| − | [[Catégorie:English]]
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| | [[Catégorie:English]] | | [[Catégorie:English]] |
The spaces of production and action are diversifying. The first years are the time of the maximum experimentation of these places. Experiment what a workshop is: a computer, a table, a stage, a kitchen. Not only are the courses multidisciplinary workshops, but also the school premises themselves can become multidisciplinary: auditorium, specific classrooms, cafeteria, exhibition spaces. The plastic realization of ideas, projects, orders, acts of communication is a process that happens, that operates in its very realization. We have to go through this: imagine, do, see, say. The risk of students exploring areas outside textbooks of any kind should be supported. In order to be able to ask the question of production conditions, it is a question of opening up and understanding the tools they have in their hands: softwares, pigments, typographies, films, voices, etc. Is the form determined by history, computer companies, technical limitations, economic means, the workplace?
Technical courses in Bachelors
From Work to Print
Internet and programming
Drawing: basic techniques (B1)
Professor: Antoine Boute
The course is focused on the de-construction of writing mechanisms and of the practice of language as a material. Various contemporary writing practices are approached through the reading of texts and the exploration of the relation between writing and orality, body, and images.
Color: Analysis and Contextual Practices
Film-Video (B2)
Film-Video (B3)
Digital utensils
Digital programming
Sound (B2)
Sound (B3)
- Writing: textual creation
Professor: Brigitte Ledune
Commando Radio
Technical courses in Master
Internal Internship
Experimental writing
Writing as material, materials of writing
Professor: Brigitte Ledune