Pedagogical Project - Historique des versions

Sdg le 2 mars 2026 à 12:53

2026-03-02T12:53:38Z

← Version précédente		Version du 2 mars 2026 à 14:53
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	~~Since its creation in 1972,~~ erg has defined itself as a research school where the activation of modes and spaces of production enables students to learn while developing a practice. The articulation of the classes aims at forming a zone of convergence favoring the emergence of unexpected occurrences, of ~~modes of exchange and collectiveness~~, ~~and~~ of ~~hybridized forms, thus contributing to~~ the ~~training~~ of ~~citizen~~-~~artists in relation to~~ the ~~world, extending far beyond~~ the ~~curriculum~~. ~~Here, what matters is not to offer certitudes~~, ~~but to gather the conditions for~~ a ~~maximal degree~~ of ~~experimentation that pushes~~ the ~~students to position themselves~~ in ~~relation to their medium while de~~-~~constructing it for a better appropriation~~.		The erg, or School of Graphic Research, is part of the independent network of higher art schools (ESA) in the Wallonia-Brussels Federation (FWB). The following educational project is the result of a collaborative writing process initiated within the Pedagogical Management Council (CGP). It was drafted over the course of a year, based on a careful reading of various texts produced by the school since its founding in the mid-1970s.

	~~In order to de-construct~~ a ~~medium, one needs to manipulate it. The specificity of~~ the ~~erg’s teaching method lies in~~ its ~~inter-~~ or ~~trans-disciplinary approach, guaranteed by the way~~ students and teachers interact across various [[Orientations at erg\|disciplines]]: video, painting, photography, sculpture, drawing, installation-performance, digital arts, typography, graphic design, visual and graphic communication, illustration, comics, animation. In the ~~Bachelor’s program, these interactions take place in [[Multidisciplinary Workshops\|multidisciplinary workshops]] organized as clusters: Art~~, ~~Narration~~ and ~~Media~~.		This text is intended as a tool for understanding the school and its mission. It is not exhaustive or definitive; any modifications are to be established collectively. This educational project is addressed to us and to all individuals (current and future students and staff) wishing to engage with our school. It defines the core principles upon which the school's current operating methods are based, both pedagogically and institutionally. Pedagogy and the institution define and shape each other.
	In the ~~Master’s program, four programs are proposed: [[L.I.E.N.S. Master Workshop]], [[Situated Practices Workshop]], [[Politics and Experimentation In Graphic Design]], [[Narratives~~ and ~~Experimentation / Speculative Narration]]~~.

	~~Students also have~~ the ~~opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by~~ the ~~teachers with external guests~~ and ~~open to multiple orientations, or through~~ the ~~use~~ of ~~various learning sites (video editing room, super 8 lab, sound lab, print lab,~~ and ~~so on)~~.		The erg fosters porous relationships between its pedagogical, institutional, technical, administrative, and student components. This polyphony forms the basis of the governance that animates the erg and defines its unique character. This "openness in writing" allows for the emergence of cross-disciplinary practices and individual and collective dynamics.

	~~===Technical tools===~~		Since its inception, the erg has supported students in developing artistic practices and research, both individual and/or collective, without disciplinary restrictions. It develops a pedagogy directly engaged with societal changes and the crises that characterize them.

	~~Spaces dedicated~~ to ~~production~~ and ~~action are becoming more diverse. The first years are marked by~~ a ~~maximal degree~~ of ~~experimentation in relation to these spaces. Experimenting~~ the ~~nature~~ of a ~~workshop: a computer, a table, a stage, a kitchen~~. ~~The multidisciplinary workshops are not confined to the classes, as every space~~ in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a ~~process~~ that ~~occurs and operates within its very elaboration. It~~ is ~~a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in~~ critical ~~territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored~~ and ~~understood: software, pigments, typography, film, or voice~~. ~~Is form determined by history, IT companies, technical limitations, economical means, the workspace?~~		The erg is an environment conducive to the coexistence of pedagogies. Students and teachers alike encounter a diversity of methodological approaches and discourses; they learn from the constant exchange of perspectives and thus participate in a conversation that influences everyone's practices. From this context emerge practices that question normative systems and interdependencies in a way that is both critical and constructive.

	~~===Critical~~ and ~~theoretical tools===~~		The erg fosters research and experimentation practices. Research requires attention not so much to the result as to the questions and methods, the movements, processes, forms, and gestures. Research practice in art is intimately linked to experimentation, that is, the possibility of learning by doing and acting, and also to dysfunction, the emergence of forms, and unexpected opportunities.

	~~One must also explore~~ the ~~issue~~ of ~~the critical conditions~~ of ~~productions pertaining~~ to ~~the existence of the students’ projects: with what analytical~~ tools ~~are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic~~, ~~political~~, ~~and social system? In what kind of history? Throughout the curriculum~~, ~~the purpose will be to support a form of resistance~~ and ~~epistemological disobedience~~ to the ~~norms~~ and ~~the codes~~ of ~~history. An art practice articulated around the possibility of a critical thought necessarily places its references~~ and ~~its objects~~ within ~~a geopolitical context~~. ~~Practices cannot be separated from their sites, their forms~~, and ~~therefore from their techniques, their time, their relations to other artists, art forms~~ and ~~situations~~.		The school allows students to examine the conditions of emergence and production of practices, to develop and use tools (technical, practical, conceptual, and sensory) specific to their practices. The school encourages the documentation and sharing of tools and practices both within and outside the school. In line with this philosophy, free and open-source software and tools are an integral part of the erg's infrastructure.

	~~===Collective tools===~~		The erg fosters an ecology of practices. Thinking about this means situating one's practice, making it sensitive and aware of relationships, contexts, and power dynamics, as well as its ecological, political, and social impact. It means working with what comes before, after, and around, and conceiving of practices inseparably from their conditions of emergence and viability.

	~~A specific~~ attention ~~will be given~~ to ~~productions that may have a parallel existence according to various formats: performance~~, ~~video~~, ~~lecture, publication, or graphic design~~. ~~These forms~~ are ~~explored collectively by learning from~~ and ~~questioning the other~~. ~~The working conditions raise the issue of group work, as~~ the ~~group~~ is ~~a necessary condition for experimentation. This collective work will therefore be central concern for~~ the ~~teaching~~ and ~~administrative team~~. ~~Such a stance will lead to probe the way the school functions~~ and ~~evolves, as well as the way artists~~, ~~authors and scientists work. Inviting~~ them to ~~observe~~ the ~~kinds~~ of ~~relations that are developed~~, ~~the protocols that are established~~, and ~~the kind of hospitality that is offered~~. ~~These educational priorities are elaborated~~ with the ~~erg’s team of teachers, together with~~ a ~~program inviting actors from~~ the ~~fields of art~~, ~~science~~, and ~~humanities in~~ the ~~form~~ of ~~workshops~~, ~~seminars~~, and ~~public interventions. Erg is~~ a ~~place dedicated~~ to ~~artistic, plastic and graphic practices that venture in theoretically~~ and ~~formally critical zones~~. ~~It offers spaces and pedagogies to be defined~~ and ~~re-defined collectively~~. ~~It is a place where one may learn from what does not work – '''that is~~, ~~a place dedicated to research'''~~.		The erg pays particular attention to welcoming, respecting, and listening. It works to make a viable and robust network of skills and responsibilities that are shared and mutually supportive. Teaching at the erg is not solely about the intellectual and practical training of students. The erg is an environment from which forms and spaces of resistance or alliance can emerge. The erg's pedagogies foster student agency, empowering them to develop relationships with all components of the school. It is structured around a framework of diverse courses organized into specializations, multidisciplinary workshops, theoretical practices, technical courses, and interdisciplinary courses.

			Each student develops a personalized learning path aligned with their chosen artistic practices and personal projects. The coherence of this path emerges from the moment a relationship is established between the project, the student, and all the components of the school.

			Like any school, erg is an institution governed by hierarchies, texts, decrees, and diverse perspectives, all driven by a desire to create and question shared experiences. erg has a responsibility within the ecosystem of art schools and beyond.

			Last updated November 14, 2025.
			Published December 2025.

Sammy le 29 novembre 2023 à 12:53

2023-11-29T12:53:31Z

← Version précédente		Version du 29 novembre 2023 à 14:53
Ligne 6 :		Ligne 6 :
	Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).		Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).

	====Technical tools====		===Technical tools===

	Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?		Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?

	====Critical and theoretical tools====		===Critical and theoretical tools===

	One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.		One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.

	==Collective tools==		===Collective tools===

	A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.		A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.

Sammy le 2 juin 2023 à 13:01

2023-06-02T13:01:52Z

← Version précédente		Version du 2 juin 2023 à 15:01
Ligne 1 :		Ligne 1 :
	Since its creation in 1972, erg has defined itself as a research school where the activation of modes and spaces of production enables students to learn while developing a practice. The articulation of the classes aims at forming a zone of convergence favoring the emergence of unexpected occurrences, of modes of exchange and collectiveness, and of hybridized forms, thus contributing to the training of citizen-artists in relation to the world, extending far beyond the curriculum. Here, what matters is not to offer certitudes, but to gather the conditions for a maximal degree of experimentation that pushes the students to position themselves in relation to their medium while de-constructing it for a better appropriation. In order to de-construct a medium, one needs to manipulate it. The specificity of the erg’s teaching method lies in its inter- or trans-disciplinary approach, guaranteed by the way students and teachers interact across various disciplines: video, painting, photography, sculpture, drawing, installation-performance, digital arts, typography, graphic design, visual and graphic communication, illustration, comics, animation. In the Bachelor’s program, these interactions take place in ~~pluri-disciplinary~~ workshops organized as clusters: Art, Narration and Media. In the Master’s program, four programs are proposed: ~~Art Practice~~, ~~Critical Tools (Art and Simultaneous Contexts)~~, ~~Narrative~~ and Experimentation ~~(Speculative Narration)~~, ~~Politics~~ and Experimentation ~~in Graphic Design (Design & Politics of the Multiple~~ / ~~Artistic Practices and Scientific Complexity)~~. Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).		Since its creation in 1972, erg has defined itself as a research school where the activation of modes and spaces of production enables students to learn while developing a practice. The articulation of the classes aims at forming a zone of convergence favoring the emergence of unexpected occurrences, of modes of exchange and collectiveness, and of hybridized forms, thus contributing to the training of citizen-artists in relation to the world, extending far beyond the curriculum. Here, what matters is not to offer certitudes, but to gather the conditions for a maximal degree of experimentation that pushes the students to position themselves in relation to their medium while de-constructing it for a better appropriation.

			In order to de-construct a medium, one needs to manipulate it. The specificity of the erg’s teaching method lies in its inter- or trans-disciplinary approach, guaranteed by the way students and teachers interact across various [[Orientations at erg\|disciplines]]: video, painting, photography, sculpture, drawing, installation-performance, digital arts, typography, graphic design, visual and graphic communication, illustration, comics, animation. In the Bachelor’s program, these interactions take place in [[Multidisciplinary Workshops\|multidisciplinary workshops]] organized as clusters: Art, Narration and Media.
			In the Master’s program, four programs are proposed: [[L.I.E.N.S. Master Workshop]], [[Situated Practices Workshop]], [[Politics and Experimentation In Graphic Design]], [[Narratives and Experimentation / Speculative Narration]].

			Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).

	====Technical tools====		====Technical tools====

Sammy le 2 juin 2023 à 12:59

2023-06-02T12:59:27Z

← Version précédente		Version du 2 juin 2023 à 14:59
Ligne 1 :		Ligne 1 :
	Since its creation in 1972, erg has defined itself as a research school where the activation of modes and spaces of production enables students to learn while developing a practice. The articulation of the classes aims at forming a zone of convergence favoring the emergence of unexpected occurrences, of modes of exchange and collectiveness, and of hybridized forms, thus contributing to the training of citizen-artists in relation to the world, extending far beyond the curriculum. Here, what matters is not to offer certitudes, but to gather the conditions for a maximal degree of experimentation that pushes the students to position themselves in relation to their medium while de-constructing it for a better appropriation. In order to de-construct a medium, one needs to manipulate it. The specificity of the erg’s teaching method lies in its inter- or trans-disciplinary approach, guaranteed by the way students and teachers interact across various disciplines: video, painting, photography, sculpture, drawing, installation-performance, digital arts, typography, graphic design, visual and graphic communication, illustration, comics, animation. In the Bachelor’s program, these interactions take place in pluri-disciplinary workshops organized as clusters: Art, Narration and Media. In the Master’s program, four programs are proposed: Art Practice, Critical Tools (Art and Simultaneous Contexts), Narrative and Experimentation (Speculative Narration), Politics and Experimentation in Graphic Design (Design & Politics of the Multiple / Artistic Practices and Scientific Complexity). Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).		Since its creation in 1972, erg has defined itself as a research school where the activation of modes and spaces of production enables students to learn while developing a practice. The articulation of the classes aims at forming a zone of convergence favoring the emergence of unexpected occurrences, of modes of exchange and collectiveness, and of hybridized forms, thus contributing to the training of citizen-artists in relation to the world, extending far beyond the curriculum. Here, what matters is not to offer certitudes, but to gather the conditions for a maximal degree of experimentation that pushes the students to position themselves in relation to their medium while de-constructing it for a better appropriation. In order to de-construct a medium, one needs to manipulate it. The specificity of the erg’s teaching method lies in its inter- or trans-disciplinary approach, guaranteed by the way students and teachers interact across various disciplines: video, painting, photography, sculpture, drawing, installation-performance, digital arts, typography, graphic design, visual and graphic communication, illustration, comics, animation. In the Bachelor’s program, these interactions take place in pluri-disciplinary workshops organized as clusters: Art, Narration and Media. In the Master’s program, four programs are proposed: Art Practice, Critical Tools (Art and Simultaneous Contexts), Narrative and Experimentation (Speculative Narration), Politics and Experimentation in Graphic Design (Design & Politics of the Multiple / Artistic Practices and Scientific Complexity). Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).

			====Technical tools====
	===Technical tools===

	Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?		Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?

			====Critical and theoretical tools====
	===Critical and theoretical tools===

	One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.		One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.

			==Collective tools==
	===Collective tools===

	A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.		A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.

	~~[[Catégorie:English]]~~

Sammy le 17 septembre 2019 à 13:23

2019-09-17T13:23:28Z

← Version précédente		Version du 17 septembre 2019 à 15:23
Ligne 2 :		Ligne 2 :


	~~'''~~Technical tools~~'''~~		===Technical tools===

	Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?		Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?


	Critical and theoretical tools		===Critical and theoretical tools===

	One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.		One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.


	~~'''~~Collective tools~~'''~~		===Collective tools===

	A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.		A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.

	[[Catégorie:English]]		[[Catégorie:English]]

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Since its creation in 1972, erg has defined itself as a research school where the activation of modes and spaces of production enables students to learn while developing a practice. The articulation of the classes aims at forming a zone of convergence favoring the emergence of unexpected occurrences, of modes of exchange and collectiveness, and of hybridized forms, thus contributing to the training of citizen-artists in relation to the world, extending far beyond the curriculum. Here, what matters is not to offer certitudes, but to gather the conditions for a maximal degree of experimentation that pushes the students to position themselves in relation to their medium while de-constructing it for a better appropriation. In order to de-construct a medium, one needs to manipulate it. The specificity of the erg’s teaching method lies in its inter- or trans-disciplinary approach, guaranteed by the way students and teachers interact across various disciplines: video, painting, photography, sculpture, drawing, installation-performance, digital arts, typography, graphic design, visual and graphic communication, illustration, comics, animation. In the Bachelor’s program, these interactions take place in pluri-disciplinary workshops organized as clusters: Art, Narration and Media. In the Master’s program, four programs are proposed: Art Practice, Critical Tools (Art and Simultaneous Contexts), Narrative and Experimentation (Speculative Narration), Politics and Experimentation in Graphic Design (Design & Politics of the Multiple / Artistic Practices and Scientific Complexity). Students also have the opportunity to familiarize themselves with other practices through in-school internships, during workshops organized by the teachers with external guests and open to multiple orientations, or through the use of various learning sites (video editing room, super 8 lab, sound lab, print lab, and so on).

'''Technical tools'''

Spaces dedicated to production and action are becoming more diverse. The first years are marked by a maximal degree of experimentation in relation to these spaces. Experimenting the nature of a workshop: a computer, a table, a stage, a kitchen. The multidisciplinary workshops are not confined to the classes, as every space in the school may lend itself to experimentation: the auditorium, specific classrooms, the cafeteria, or the various exhibition spaces. The plastic development of ideas, projects, external commissions, or acts of communication is a process that occurs and operates within its very elaboration. It is a necessary stage: imagining, making, seeing, saying. It matters to accompany the students at they venture in critical territories uncharted by traditional manuals. In order to address the issue of production conditions, the tools the students manipulate must be explored and understood: software, pigments, typography, film, or voice. Is form determined by history, IT companies, technical limitations, economical means, the workspace?

Critical and theoretical tools

One must also explore the issue of the critical conditions of productions pertaining to the existence of the students’ projects: with what analytical tools are we looking at things? What are the sources of these tools? Who is talking? To whom? In what kind of economic, political, and social system? In what kind of history? Throughout the curriculum, the purpose will be to support a form of resistance and epistemological disobedience to the norms and the codes of history. An art practice articulated around the possibility of a critical thought necessarily places its references and its objects within a geopolitical context. Practices cannot be separated from their sites, their forms, and therefore from their techniques, their time, their relations to other artists, art forms and situations.

'''Collective tools'''

A specific attention will be given to productions that may have a parallel existence according to various formats: performance, video, lecture, publication, or graphic design. These forms are explored collectively by learning from and questioning the other. The working conditions raise the issue of group work, as the group is a necessary condition for experimentation. This collective work will therefore be central concern for the teaching and administrative team. Such a stance will lead to probe the way the school functions and evolves, as well as the way artists, authors and scientists work. Inviting them to observe the kinds of relations that are developed, the protocols that are established, and the kind of hospitality that is offered. These educational priorities are elaborated with the erg’s team of teachers, together with a program inviting actors from the fields of art, science, and humanities in the form of workshops, seminars, and public interventions. Erg is a place dedicated to artistic, plastic and graphic practices that venture in theoretically and formally critical zones. It offers spaces and pedagogies to be defined and re-defined collectively. It is a place where one may learn from what does not work – '''that is, a place dedicated to research'''.

[[Catégorie:English]]