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Digital Design (MA) : Différence entre versions

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(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... »)
 
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Professor : [[Harrisson]]
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Professor: [[Alexia de Visscher]]
  
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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?
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"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."
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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)?
 
  
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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.
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Victor Papanek, Design for a Real World, 1971, remixed by the Digital Design team
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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:
 
  
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 - through collective and individual research and working methods
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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.
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 - 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.
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No prerequisite is required to follow this orientation other than being curious, daring, tinkering, transforming, colliding, understanding and sharing experiences.
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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.
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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.  
  
  
 
[[Catégorie:English]]
 
[[Catégorie:English]]

Version du 25 avril 2022 à 14:20

Professor: 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."

Victor Papanek, Design for a Real World, 1971, remixed by the Digital Design team

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.

No prerequisite is required to follow this orientation other than being curious, daring, tinkering, transforming, colliding, understanding and sharing experiences.

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.

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.

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