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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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| − | *'''From the artwork to the print'''
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| − | Professor: [[Alexia De Visscher]]
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| − | Description coming soon
| + | [[Catégorie:English]] |
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| − | *'''Rhizome / collage / editing / linking'''
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| − | Professor: [[Bernadette Kluyskens]]
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| − | *'''Digital imagery'''
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| − | Professor: [[Stéphane Noël]]
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| − | This course provides a formal teaching on the notions associated with digital imagery as these technical notions are approached through the use of concrete exercises. Additional short trainings include 3D and generative drawing are also. The class uses a dedicated website as a support.
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| − | The aim of the course is to present tools available around graphic creation, favoring an open source approach and reflecting on the attending issues of property rights and on its particular philosophy.
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| − | *'''Basic techniques, drawing'''
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| − | Professor: [[Gérard Goffaux]]
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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.
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| − | In Bac 1, the works are dedicated to the use of black and white.
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| − | *'''Writing'''
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| − | Professor: [[Antoine Boute]]
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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.
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| − | *'''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.
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| − | 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
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| − | *'''Digital programming'''
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| − | Professor: [[Lionel Maes]]
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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).
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| − | *'''Sound'''
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| − | Professor: [[Sylvie Bouteiller]]
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| − | Description coming soon
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| − | *'''Writing: textual creation'''
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| − | 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.
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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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| − | '*''Computing, social networks II – The Networked Social'''
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| − | Professor: [[Wendy Van Wynsberghe]]
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| − | The digital spaces in which artists locate their work may partially be labeled as virtual spaces. Yet, the fundamental conditions for their very existence are inherently physical. Cables, servers, contracts, the Internet, geopolitical, legal and social conventions are just a few examples of the elements that shape and rule over our digital spaces.
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| − | Debunking the mechanisms and underwrite our daily use of these networks and spaces, this course aims at developing a critical consciousness of the “techno-colonization”, control and privatization processes at stakes within these spaces. This course offers methodologies imagining a possible public, shared digital space, and how to use it for artistic purposes by drawing from the history of art, performance and activism in the public space.
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| − | *'''Sound'''
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| − | Professor: Laurent Baudoux
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| − | Description coming soon
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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?