Digital Design (MA) - Historique des versions

Sammy le 5 juin 2023 à 09:27

2023-06-05T09:27:59Z

Sammy le 2 juin 2023 à 12:32

2023-06-02T12:32:31Z

Sammy : Sammy a déplacé la page Visual and Graphic Communication (MA) vers Digital Design (MA)

2022-04-25T13:20:33Z

Sammy a déplacé la page Visual and Graphic Communication (MA) vers Digital Design (MA)

Sammy le 25 avril 2022 à 13:20

2022-04-25T13:20:18Z

Sammy : Page créée avec « Professor : Harrisson In an era of overwhelmingly fast, connected media, can we question the ubiquity of visual communication? Shouldn’t visual communication create... »

2019-08-29T08:29:23Z

Page créée avec « Professor : Harrisson In an era of overwhelmingly fast, connected media, can we question the ubiquity of visual communication? Shouldn’t visual communication create... »

Nouvelle page

Professor : [[Harrisson]]

In an era of overwhelmingly fast, connected media, can we question the ubiquity of visual communication? Shouldn’t visual communication create a critical field in visual communication? Can it have an active antagonist?
Moreover, the mere fact of teaching this changing subject raises a real issue. What is the meaning of being a professional in this field? What kind of responsibility does it imply? This raises an issue of transmission. Between entity and identity, what forces operate in the visual structuring? On what scale (individual, organisational)? In what contexts (events, spaces)?

The identity of an entity is not an arbitrary construction; it has its own, self-developing existence. It is a complex vehicle containing and reflecting its own ideological conditions, which may moreover challenge itself.
The Master starts with an exercise consisting in defining one’s own driving force in order to position oneself in the field of action. Work subjects will be mainly personal and linked to the personal tastes of the students. Professors have to detect, catalyze, and polarize the directions:

- through collective and individual research and working methods

- through practical, theoretical and technical training courses with the help of external (professionals in the field of the art and communication) and internal (professors, students) actors, their critique and the sharing of their experiences.

[[Catégorie:English]]

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 Teacher: [[Alexia de Visscher]]
 The Digital Design orientation proposes to explore the modes of graphic creation and distribution in digital environments by taming the tools, by “practicing” them or in other words by “doing with them”. The course aims to emphasize editorial forms in the broad sense that are part of a digital practice and that pass through different types of media. The act of publishing (in the sense of making public) can embody several states: from the digital flow of the screen to the stabilization of print or, in a hybrid way, to fit into digital and/or analog spaces.
 The course is structured around a theoretical and cultural component and a practical component (partly in collaboration with bachelor's professors) in order to understand the different tools, protocols and workflows in digital publishing environments. The use of free software is favored with the aim of understanding its functioning thanks to the opening of its code. Experimentation, collaboration and co-learning as well as discussions and documentation are part of the learning methods and constitute an application of a culture of design integrated into the culture of free software. Combining tools, diverting them and developing recipes contributes to the empowerment of the student.
-In M1, the course focuses on hybrid publishing practices (web server, html2print, databases, printing on demand, etc.) in the context of research that the student undertakes for two years. The publication of his research in progress is questioned through the experimentation of registration tools and dissemination spaces that articulate versatile and evolving content. Linking (networking, inter and hypertextuality) and collaborative production contexts (collective writing, collaborative publishing platform, readers, common bibliography, collective annotation, etc.) are also encouraged.
+In M2, the content of the course revolves around one or more issues of digital design in the context of the student's research. Particular attention is paid to the responsibility of the designer in the construction of discourses, images and knowledge. And this, through practices and processes that summon not only techniques but also ethical, philosophical and political positions intimately linked to the forms they design.

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-Professor: [[Alexia de Visscher]]
+Teacher: [[Alexia de Visscher]]
-"Design is composing an epic poem in HTML, making a fresco wallpaper, painting a portrait masterpiece in artificial intelligence, writing an 8-bit sound concerto. But it's also emptying and reorganising a desk drawer its hard drive, extracting a decayed tooth a zip archive, baking an apple pie a software program, choosing teams for a baseball game life and educating a child plotter."
+The Digital Design orientation proposes to explore the modes of graphic creation and distribution in digital environments by taming the tools, by “practicing” them or in other words by “doing with them”. The course aims to emphasize editorial forms in the broad sense that are part of a digital practice and that pass through different types of media. The act of publishing (in the sense of making public) can embody several states: from the digital flow of the screen to the stabilization of print or, in a hybrid way, to fit into digital and/or analog spaces.
-Victor Papanek, Design for a Real World, 1971, remixed by the Digital Design team
+The Master revolves around the personal projects of the students. These are set up through discussions between teachers and students according to their areas of interest. In this Orientation, the technique is not seen as a simple means to achieve its ends, but as a driving force for reflection and sometimes even its starting point.
-The "Digital Design" orientation proposes to explore modes of graphic creation and dissemination in digital environments by taming digital production tools by "practicing" them or in other words by "doing with" them. It aims to focus on editorial forms (in the broadest sense) that rub up against digital tools and media, as these forms of publication can have several statuses, not only that of digital flows, stable printed forms or hybrids, they can be inscribed in a virtual space, or in physical spaces. In order to do this, the course proposes, among other things, to develop practices favouring diversion, hacking and poetry, magic and recipes, and sometimes slowness and clumsiness. Finally, it proposes to analyse the political, economic, anthropological and historical issues at stake in the bowels of digital objects and systems - in other words, design issues.
+Collective projects are welcome, even encouraged; the exchange of knowledge between peers is in any case essential. Technical support will be offered according to personal projects. Free and Open Source software is a foundation.
-No prerequisite is required to follow this orientation other than being curious, daring, tinkering, transforming, colliding, understanding and sharing experiences.
+The course is structured around a theoretical and cultural component and a practical component (partly in collaboration with bachelor's professors) in order to understand the different tools, protocols and workflows in digital publishing environments. The use of free software is favored with the aim of understanding its functioning thanks to the opening of its code. Experimentation, collaboration and co-learning as well as discussions and documentation are part of the learning methods and constitute an application of a culture of design integrated into the culture of free software. Combining tools, diverting them and developing recipes contributes to the empowerment of the student.
-The Master's programme is based on the students' personal projects. These are set up through discussions between teachers and students according to their interests. In this orientation, technology is not seen as a simple means to an end, but as a driving force for reflection and sometimes even as its starting point.
+In M1, the course focuses on hybrid publishing practices (web server, html2print, databases, printing on demand, etc.) in the context of research that the student undertakes for two years. The publication of his research in progress is questioned through the experimentation of registration tools and dissemination spaces that articulate versatile and evolving content. Linking (networking, inter and hypertextuality) and collaborative production contexts (collective writing, collaborative publishing platform, readers, common bibliography, collective annotation, etc.) are also encouraged.
-Collective projects are welcome and even encouraged; the exchange of knowledge between peers is in any case essential. Technical support will be offered according to personal projects.
+In M2, as part of the research projects carried out by the students and as a relay to the content raised in the other courses of the EU, the Digital Design orientation constitutes both a methodological support (workshop practice, of research, protocols and experiments, relationship to technique and documentation) as much as a field in itself to be explored. It is a question of problematizing digital design at one place of the research, in a specific or transversal way within the project carried out by the student.
+the content of the course revolves around one or more issues of digital design in the context of the student's research. Particular attention is paid to the responsibility of the designer in the construction of discourses, images and knowledge. And this, through practices and processes that summon not only techniques but also ethical, philosophical and political positions intimately linked to the forms they design.

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