{"id":86,"date":"2010-02-07T12:27:00","date_gmt":"2010-02-07T12:27:00","guid":{"rendered":"http:\/\/blogs.esamcaen.fr\/design-graphique\/2010\/02\/07\/ateliers-semestres-4-6-et-8\/"},"modified":"2010-02-07T12:27:00","modified_gmt":"2010-02-07T12:27:00","slug":"ateliers-semestres-4-6-et-8","status":"publish","type":"post","link":"https:\/\/blogs.esam-c2.fr\/design-graphique\/ateliers-semestres-4-6-et-8\/","title":{"rendered":"Ateliers semestres 4, 6 et 8"},"content":{"rendered":"

\/\/\/ Atelier affiche ouvert aux DG2 et DG3 ><\/span><\/span><\/p>\n


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Dates d’atelier du au 15 au 17 mars<\/span><\/span><\/span><\/div>\n
Nombre de places limit\u00e9es \u00e0<\/span><\/span><\/span><\/div>\n

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Intervenant :<\/span><\/span> Thierry Weyd<\/span><\/span><\/span><\/div>\n

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Contexte :<\/span><\/span><\/div>\n
Dans le cadre de la cinqui\u00e8me \u00e9dition du festival Interstice, les \u00e9tudiants seront invit\u00e9s \u00e0 r\u00e9aliser les dix affiches en s\u00e9rigraphie des dix concerts.<\/span><\/span><\/div>\n
De Bricolages exp\u00e9rimentaux en cr\u00e9ations multim\u00e9dias, ]Interstice[ se veut un espace de d\u00e9couverte d’artistes internationaux qui d\u00e9veloppent leurs recherches aux fronti\u00e8res de plusieurs disciplines : des plasticiens qui int\u00e8grent le son comme mati\u00e8re \u00e0 part enti\u00e8re, des compositeurs ou improvisateurs qui donnent leur musique \u00e0 voir et se jouent des conventions entre bruit et musique\u2026 Pour cette rencontre des inclassables, plusieurs structures inscrites dans des champs diff\u00e9rents s\u2019associent pour faire une programmation h\u00e9t\u00e9roclite permettant la rencontre de publics divers en m\u00e9langeant les genres : musique, arts visuels, po\u00e9sie, performances… <\/span><\/span><\/div>\n

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Programme : <\/span><\/span><\/div>\n

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Mardi 27 avril 2010<\/span><\/span><\/div>\n
> 21h > Carg\u00f6 Caen<\/span><\/span><\/span><\/div>\n
The residents <\/span><\/span>(US)<\/span><\/span><\/span><\/div>\n
The Residents’ Talking Light (exclusivit\u00e9 fran\u00e7aise)<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.residents.com<\/span><\/span><\/a>\/<\/span><\/span><\/span><\/div>\n

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Mercredi 28 avril 2010<\/span><\/span><\/span><\/div>\n
> 18h > \u00e9sam Caen<\/span><\/span><\/div>\n
rencontre avec <\/span><\/span>Paul Panhuysen <\/span><\/span>(NL)<\/span><\/span><\/span><\/div>\n
artiste, musicien, co-fondateur de l’ensemble Maciunas et directeur de la plateforme artistique het apollonius \u00e0 Eindhoven (NL)<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.paulpanhuysen.com<\/span><\/span><\/a>\/<\/span><\/span><\/span><\/div>\n
> 19h30 > \u00e9sam Caen<\/span><\/span><\/div>\n
Ouverture du festival<\/span><\/span><\/span><\/div>\n
Vernissage de l’exposition de <\/span><\/span>Elsa Tomkowiak<\/span><\/span> propos\u00e9e par l’\u00e9sam de Caen<\/span><\/span><\/span><\/div>\n
> 21h > \u00e9sam Caen<\/span><\/span><\/div>\n
Programme 1 <\/span><\/span><\/span><\/div>\n
– <\/span><\/span>Carr\u00e9 Mathieu<\/span><\/span> (FR)<\/span><\/span><\/span><\/div>\n
\u00ab\u00a0Popsteam\u00a0\u00bb<\/span><\/span><\/span><\/div>\n
concert de cocottes-minute assist\u00e9es<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.documentsdartistes.org\/artistes\/carre\/repro9.html<\/span><\/span><\/a><\/span><\/div>\n
– <\/span><\/span>Konk Pack <\/span><\/span>(GB\/DE)<\/span><\/span><\/span><\/div>\n
musique improvis\u00e9e<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.myspace.com\/konkpack<\/span><\/span><\/a><\/span><\/div>\n
http:\/\/www.thomaslehn.com\/read\/info_kp.html<\/span><\/span><\/i><\/i><\/span><\/span><\/a><\/span><\/div>\n
<\/i>
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Jeudi 29 avril 2010<\/span><\/span><\/i><\/span><\/div>\n
> 18h > Galerie Hypertopie<\/span><\/span><\/div>\n
Vernissage<\/span><\/span><\/i><\/span><\/div>\n
– <\/span><\/span><\/i>Paul Panhuysen <\/span><\/span><\/i>(NL)<\/span><\/span><\/i><\/span><\/div>\n
– <\/span><\/span><\/i>Bertran & Berrenger <\/span><\/span><\/i>(FR)<\/span><\/span><\/i><\/span><\/div>\n
> 21h > Eglise St-Nicolas<\/span><\/span><\/div>\n
Programme 2<\/span><\/span><\/i><\/span><\/div>\n
– Installation\/concert de <\/span><\/span><\/i>Paul Panhuysen + TILT + Patrice Grente <\/span><\/span><\/i>(NL\/FR)<\/span><\/span><\/i><\/span><\/div>\n
– <\/span><\/span><\/i>The Incredible & Mysterious Consuls<\/span><\/span><\/i> (KREV)<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.myspace.com\/bimbotowerevents<\/span><\/span><\/a><\/span><\/div>\n
http:\/\/www.myspace.com\/dragibusmusic<\/span><\/span><\/a><\/span><\/div>\n
– <\/span><\/span><\/i>Fran\u00e7ois Banholzer<\/span><\/span><\/i> (KREV)<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.myspace.com\/balnof<\/span><\/span><\/a><\/span><\/div>\n
<\/i>
<\/span><\/span><\/div>\n
Vendredi 30 avril 2010<\/span><\/span><\/i><\/span><\/div>\n
> 20h > \u00e9sam Caen<\/span><\/span><\/div>\n
Programme 3 (en cours)<\/span><\/span><\/i><\/span><\/div>\n
– <\/span><\/span><\/i>Pierre Bastien <\/span><\/span><\/i>(NL)<\/span><\/span><\/i><\/span><\/div>\n
Bricolage sonore<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.pierrebastien.com<\/span><\/span><\/a>\/<\/span><\/span><\/span><\/div>\n
– <\/span><\/span>St\u00e9phane Rives<\/span><\/span> (LB)<\/span><\/span><\/span><\/div>\n
saxo solo improvis\u00e9<\/span><\/span><\/i><\/span><\/div>\n
http:\/\/palriv.free.fr<\/span><\/span><\/a>\/<\/span><\/span><\/span><\/div>\n
– <\/span><\/span>Semiconductor <\/span><\/span>(GB)<\/span><\/span><\/span><\/div>\n
\u00ab\u00a0Black rain\u00a0\u00bb<\/span><\/span><\/span><\/div>\n
musique electro, vid\u00e9o <\/span><\/span><\/i><\/span><\/div>\n
http:\/\/www.semiconductorfilms.com<\/span><\/span><\/a>\/<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/div>\n
Objectifs :<\/span><\/span><\/div>\n
– cr\u00e9er une affiche de concert qui annonce clairement un \u00e9v\u00e9nement dat\u00e9<\/span><\/span><\/div>\n
– travailler en s\u00e9rigraphie<\/span><\/span><\/div>\n
– mener et organiser un travail d’\u00e9quipe <\/span><\/span><\/div>\n

<\/span><\/div>\n
<\/p>\n
\/\/\/ Atelier photographie panoramique ouvert aux DG2 et DG3 ><\/span><\/span><\/div>\n

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<\/p>\n
Dates d’atelier du<\/span> 15 au 26 mars<\/span><\/span><\/span><\/span><\/div>\n
<\/p>\n
Nombre de places limit\u00e9es \u00e0 12 \u00e9tudiants<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/div>\n
Intervenant :<\/span><\/span><\/span> Bernard Ch\u00e9reau et Mich\u00e8le Gottstein<\/span><\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/div>\n
Pr\u00e9-requis :<\/span> Ma\u00eetrise de la prise de vues argentique ou num\u00e9rique, logiciel Photoshop<\/span><\/span><\/span> <\/span><\/span><\/span><\/div>\n
<\/p>\n

Objectifs : L\u2019option \u00ab Photographie panoramique \u00bb propose une th\u00e9matique de recherche autour de la repr\u00e9sentation photographique du volume, elle permet de d\u00e9velopper de nouveaux champs d\u2019exp\u00e9rimentation en r\u00e9alisant un travail qui questionne la notion d\u2019espace<\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Contenu :<\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00c9tude des diff\u00e9rents formats de la photographie, la transgression du nombre d\u2019or<\/span>
De l\u2019image recadr\u00e9e au panoptique en passant par le panoramique<\/span>
Les diff\u00e9rents types de panoramas (chronopanorama, panorama invers\u00e9, panorama de travelling etc.)<\/span><\/span><\/span> <\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

M\u00e9thode d’enseignement :<\/span><\/span><\/span><\/p>\n

Enseignement en atelier : recherches pesonnelles, mise en commun des exp\u00e9riences, synth\u00e8se. <\/span>
Mise au point du projet, maquette \u00e0 l’\u00e9chelle 1.<\/span><\/span><\/span> <\/span><\/span><\/p>\n

\u00c9valuation : Validation sur dossier photographique (recherches, planches contacts, tirages)<\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/span><\/p>\n

R\u00e9f\u00e9rences historiques et bibliographiques :<\/span><\/span><\/span><\/span><\/p>\n

Jeremy Bentham : Le panoptique est un type d’architecture carc\u00e9rale imagin\u00e9e par le philosophe Jeremy Bentham (1748-1832 Londres). L’objectif de la structure panoptique est de permettre \u00e0 un individu d’observer tous les prisonniers sans que ceux-ci ne puissent savoir s’ils sont observ\u00e9s, cr\u00e9ant ainsi un \u00absentiment d’omniscience invisible\u00bb chez les d\u00e9tenus.<\/span><\/span><\/span><\/span><\/p>\n

Joachim Bonnemaison, Panoramas, photographies, 1850-1950, Ed. RIP, Arles, 1992<\/span><\/span><\/span><\/p>\n

David Hockney, Images \u2013 Ed. La Martini\u00e8re, 368p, Paris. 2004<\/span><\/span><\/span><\/p>\n

www.naturepixel.com\/<\/span><\/span>panoramique_1.htm<\/span><\/span><\/a><\/span><\/p>\n

<\/span><\/span><\/span><\/div>\n

\/\/\/ Atelier dessins de caract\u00e8res ouvert aux DG2, DG3 et PJ4 Typo ><\/span><\/div>\n

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<\/div>\n
Dates d’atelier du 15 au 26 mars (<\/span>32h de cours + 48h de travail personnel)<\/span><\/span><\/span><\/span><\/div>\n
Nombre de places limit\u00e9es \u00e0 12 \u00e9tudiants (6 DG2, 3 DG3 et 3 PJ4 Typo)<\/span><\/span><\/span><\/span><\/span><\/div>\n
\n
<\/span><\/p>\n

Intervenant :<\/span><\/span> Sarah Fouquet<\/span><\/span><\/span><\/p>\n

Pr\u00e9-requis :<\/span> Ma\u00eetrise de Photoshop et notions d’Illustrator<\/span><\/span><\/p>\n

Objectifs :<\/span><\/p>\n

. Approche concr\u00e8te de la typographie sur un revival<\/span>
. Cr\u00e9ation de fonte num\u00e9rique en vue d\u2019enrichir sa typoth\u00e8que personnelle<\/span>
. Approche du vocabulaire sp\u00e9cialis\u00e9 et des diff\u00e9rentes familles de caract\u00e8res<\/span>
. Former son regard typographique<\/span><\/p>\n

Contenu : <\/span><\/span><\/p>\n

L\u2019atelier se d\u00e9roulera en quatre temps : une analyse de caract\u00e8res imprim\u00e9s, un travail de concertation sur leurs sp\u00e9cificit\u00e9s formels, une num\u00e9risation de fonte et la cr\u00e9ation d\u2019un document pr\u00e9sentant le sp\u00e9cimen de caract\u00e8res.<\/span><\/span><\/p>\n

Dans un premier temps les \u00e9tudiants devront saisir l\u2019architecture de la lettre, les subtilit\u00e9s dans les dialogues vide-plein, les moyens simples de dessiner un caract\u00e8re \u00e0 la main pour aborder dans un deuxi\u00e8me temps les notions de dessin aux courbes de B\u00e9zier, de fonte num\u00e9rique, d\u2019approches, de gris typographique\u2026<\/span><\/p>\n

M\u00e9thode d’enseignement :<\/span> Workshop optionnel pour un groupe de 9 \u00e0 12 \u00e9tudiants maximum (4 \u00e0 6 DG2, 2 \u00e0 3 DG3 et 2 \u00e0 3 PJ4)<\/span><\/span><\/p>\n

. Cours en atelier et en salle info<\/span>
. Travail individuel puis collectif<\/span>
. Entretiens r\u00e9guliers<\/span>
. Contr\u00f4le continu<\/span><\/p>\n

Les \u00e9tudiants devront faire preuve d’une grande autonomie en se documentant et en progressant avec constance.<\/span><\/span><\/span><\/p>\n

Seront m\u00e9lang\u00e9s des DG2, DG3 et PJ4 typo dans chaque groupe de travail afin d\u2019\u00e9quilibrer les comp\u00e9tences de chacun.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Organisation :<\/span><\/p>\n

1<\/span>e<\/span><\/span><\/sup> jour \/ 1<\/span>\u00e8re<\/span><\/span><\/sup> s\u00e9ance 4h cours : Introduire le sujet et les documents de r\u00e9f\u00e9rence, \u00e9tablissement d\u2019un calendrier et d\u2019un mode communication sur l\u2019atelier (\u00e9dition, blog, vid\u00e9o\u2026)<\/span><\/span><\/span><\/p>\n

2<\/span>e<\/span><\/span><\/sup> jour : les \u00e9tudiants font les agrandissements \u00e0 5cm de hauteur d\u2019\u0153il d\u2019une s\u00e9lection de lettres et commencent individuellement \u00e0 esquisser leurs caract\u00e9ristiques sur des calques<\/span><\/span><\/p>\n

3<\/span>e<\/span><\/span><\/sup> jour \/ 2<\/span>e<\/span><\/span><\/sup> s\u00e9ance de 8h cours : Table ronde et discussion autour des esquisses de chacun, formation des groupes de travail et r\u00e9partition des lettres<\/span><\/span><\/p>\n

4<\/span>e<\/span><\/span><\/sup> jour \/ 3<\/span>e<\/span><\/span><\/sup> s\u00e9ance de 4h de cours : corrections des dessins et stabilisation des caract\u00e8res<\/span><\/span><\/p>\n

5<\/span>e<\/span><\/span><\/sup> jour \/ stabilisation de l\u2019ensemble des bas de casse<\/span><\/span><\/p>\n

6<\/span>e<\/span><\/span><\/sup> jour \/ 4<\/span>e<\/span><\/span><\/sup> s\u00e9ance de 4h cours : scanner et nettoyer les calques, introduire la vectorisation<\/span><\/span><\/p>\n

7<\/span>e<\/span><\/span><\/sup> jour : finir de num\u00e9riser les caract\u00e8res et de vectoriser les signes<\/span><\/span><\/p>\n

8<\/span>e<\/span><\/span><\/sup> jour \/ 5<\/span>e<\/span><\/span><\/sup> s\u00e9ance de 4h cours : aborder le probl\u00e8me des approches et des gris typographiques<\/span><\/span><\/p>\n

9<\/span>e<\/span><\/span><\/sup> jour : finir les approches et concevoir un sp\u00e9cimen<\/span><\/span><\/p>\n

10<\/span>e<\/span><\/span><\/sup> jour \/ 6<\/span>e<\/span><\/span><\/sup> s\u00e9ance de 8h cours : finalisation du projet et rendu<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Mat\u00e9riel indispensable :<\/span><\/span><\/p>\n

–<\/span> <\/span><\/span><\/span>papier calque A3<\/span><\/span><\/span>
–<\/span> <\/span><\/span><\/span>porte-mines et gomme<\/span>
–<\/span> <\/span><\/span><\/span>feutre noir fin et \u00e9pais<\/span>
–<\/span> <\/span><\/span><\/span>r\u00e8gle et papier \u00e0 petits carreaux<\/span><\/p>\n

Evaluation :<\/span><\/span><\/p>\n

. Pr\u00e9sence et investissement<\/span><\/span><\/p>\n

. M\u00e9thodologie et respect des diff\u00e9rentes \u00e9tapes de travail<\/span><\/p>\n

. Lisibilit\u00e9<\/span><\/p>\n

. Qualit\u00e9 du rendu et de la pr\u00e9sentation<\/span><\/p>\n

R\u00e9f\u00e9rences bibliographiques :<\/span><\/span><\/p>\n

Mediavilla, Claude, Calligraphie : du signe calligraphi\u00e9 \u00e0 la peinture abstraite (1993)<\/span><\/span><\/p>\n

Paris, Muriel, Petit manuel de composition typographique (1999)<\/span><\/span><\/p>\n

Encyclop\u00e9die de la chose imprim\u00e9e : du papier \u00e0 l’\u00e9cran (1999)<\/span><\/span><\/p>\n

Articles et ouvrages monographiques sur Matthew Carter, Adrian Frutiger, Franck Jalleau, Carol Twombly, Hermann Zapf…<\/span><\/p>\n

\/\/\/ Arc Corps & graphie obligatoire pour les PJ4 Typo et ouvert \u00e0 4 PJ4 Com-M\u00e9dias ><\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

<\/p>\n

Dates d’atelier du 2 au 4 mars et du 30 mars au 1er avri<\/span>l (<\/span>48h de workshop sur deux blocs de 3 jours + 32h de travail personnel)<\/span><\/span><\/span><\/span><\/div>\n

<\/p>\n

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Nombre de places limit\u00e9es \u00e0 12 \u00e9tudiants<\/span><\/span><\/span><\/div>\n
<\/p>\n
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Intervenants :<\/span><\/span> Simonetta Cargioli, Luc Desmarquest, Thierry Weyd, Christophe Bouder et Sarah Fouquet<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Pr\u00e9-requis :<\/span><\/span> <\/span><\/span><\/span>bonne connaissance typographique, r\u00e9f\u00e9rences en histoire de l\u2019art et du graphisme, ma\u00eetrise des ateliers techniques<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Objectifs :<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Utiliser ses connaissances en typographie pour questionner les signes et leur environnement<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Mener une recherche, aussi bien th\u00e9orique que plastique, en vue de d\u00e9gager une probl\u00e9matique personnelle<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. D\u00e9velopper et mettre en \u0153uvre un dispositif en lien avec des pr\u00e9occupations contemporaines<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Contenu :<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00c0 l\u2019occasion d\u2019un atelier de deux fois trois jours durant lesquels se succ\u00e8deront diff\u00e9rents intervenants, aux pr\u00e9occupations vari\u00e9es, les \u00e9tudiants seront amen\u00e9s \u00e0 r\u00e9fl\u00e9chir \u00e0 la typographie dans son possible lien avec le corps. Comment la typographie, cette organisation pr\u00e9cise de signes qui font sens quotidiennement, peut-elle influencer nos gestes, nos d\u00e9placements ou tout simplement focaliser notre regard ? L\u2019\u00e9criture chor\u00e9graphique, la signal\u00e9tique ou l\u2019\u00e9dition sont autant de moyens de modifier notre posture dans l\u2019espace. Comment pouvons-nous surprendre le corps, bousculer certains gestes ou usages, via la typographie ? \u00c0 l\u2019\u00e9chelle de l\u2019\u0153il, du doigt ou du corps, comment provoquer une rencontre avec l\u2019espace de la page, de l\u2019\u00e9cran ou d\u2019un lieu seulement par la typographie ? Dans quelles situations pr\u00e9cises la typographie peut-elle cr\u00e9er un rapport singulier entre l\u2019espace et le temps soit le corps en mouvement ?<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

M\u00e9thode d’enseignement :<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/div>\n

. Atelier obligatoire pour les PJ4 Typo, 5 places optionnelles ouvertes \u00e0 des \u00e9tudiants de Com-M\u00e9dias et Art<\/span><\/span><\/span><\/span><\/p>\n

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. Travail individuel ou par groupe de deux<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Cours th\u00e9oriques et suivi en atelier<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Entretiens individuels avec les diff\u00e9rents intervenants en alternance<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Evaluation :<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Pr\u00e9sence et investissement<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. R\u00e9flexion et pertinence des recherches<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. M\u00e9thodologie et mise en \u0153uvre<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Qualit\u00e9 du rendu et de la pr\u00e9sentation<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Mat\u00e9riel :<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

. Papiers, cartons, crayons, ciseaux, appareil photo, colle\u2026<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/p>\n

\/\/\/ Atelier optionnel La machine \u00e0 enregistrer ouvert aux PJ4 Com-M\u00e9dias et Typo ><\/span><\/span><\/span><\/p>\n


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Pr\u00e9-requis : <\/span>voir, lire, \u00e9couter les r\u00e9f\u00e9rences ci-dessous.<\/span><\/span><\/span><\/span><\/p>\n


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Intervenant : <\/span>C\u00e9line Duval<\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

Objectifs :<\/span> – Savoir d\u00e9crypter les images. – analyses vie priv\u00e9 \/ sc\u00e8ne publique – Droit \u00e0 l\u2019image, droits d\u2019auteur. – Recherches iconographiques. – Manipulation des codes visuels. – Travail en \u00e9quipe et prise de responsabilit\u00e9. – Connaissance de la cha\u00eene de fabrication, jusqu\u2019\u00e0 l\u2019impression.<\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

Gr\u00e2ce \u00e0 l\u2019acquisition de ces connaissances, permettre \u00e0 chaque \u00e9tudiant d\u2019exprimer son point de vue critique et cr\u00e9atif.<\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

Contenu :<\/span> La ville est envahie de cam\u00e9ra de surveillance, les satellites produisent des images toutes les secondes, des milliards d\u2019images sont prisent avec des t\u00e9l\u00e9phones portables, blog et sites Internet diffusent des photographies et vid\u00e9os d\u2019amateurs, les webcams tr\u00f4nent\u2026 Notre soci\u00e9t\u00e9 produit toujours plus d\u2019images, les nouvelles technologies en permettent de nouvelles formes, nos comportements changent et nous devenons tous des photographes en puissance. Notre soci\u00e9t\u00e9 contemporaine est une machine \u00e0 enregistrer, tout est regard\u00e9 par elle, au plus pr\u00e8s de notre intimit\u00e9. Nous tenterons d\u2019analyser tous ces ph\u00e9nom\u00e8nes, nous lirons des articles, nous surferons sur le net, nous visionnerons des vid\u00e9os et des livres d\u2019artistes ayant utilis\u00e9s ces images dans une d\u00e9marche cr\u00e9ative. Nous aborderons aussi la question du droit \u00e0 l’image et du droit d’auteur. Du corpus d\u2019images s\u00e9lectionn\u00e9es, nous lui donnerons une forme, imprim\u00e9e ou anim\u00e9e, et envisagerons son mode de diffusion. Bien que chacun doive fournir un travail de recherche personnel, cet atelier est \u00e0 consid\u00e9rer comme un travail d\u2019\u00e9quipe et la publication sera collective. <\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

M\u00e9thode d’enseignement :<\/span> Expos\u00e9 et pr\u00e9sentation d\u2019\u00e9ditions, sites Internet, vid\u00e9o et films. Dialogue coll\u00e9gial. Recherche d\u2019images et suivit de projet \u00e9ditorial. <\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

\u00c9valuation :<\/span> Apport de sources culturelles 20 % ; Engagement dans le projet : 30% ; Pertinence du regard de l’\u00e9tudiant, ouverture d’esprit et originalit\u00e9 des propositions : 40% ; Compr\u00e9hension et ma\u00eetrise technique : 10%<\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

R\u00e9f\u00e9rences bibliographiques :<\/span><\/span><\/span><\/span><\/span><\/p>\n

*Foucault (Michel), Surveiller et punir. Naissance de la prison, Paris, Gallimard, 1975. *Ganascia (Jean-Gabriel), Voir et pouvoir : qui nous surveille ? le Pommier, Paris. Collection Essais et documents, 2009 *Debray (R\u00e9gis), Vie et mort de l’image, \u00e9ditions Gallimard, 1992 *Michel Houellebecq, \u00ab\u00a0Aproches du d\u00e9sarroi\u00a0\u00bb, paru dans le catalogue de l’exposition Genius, \u00e9ditions La diff\u00e9rence, 1993. *Mattelart (Armand), La globalisation de la surveillance, La D\u00e9couverte, 2008. *Orwell (George), 1984, Gallimard-Folio,1976 *Deleuze (Gilles), Post-scriptum sur les soci\u00e9t\u00e9s de contr\u00f4le, L ‘autre journal, n\u00b01, mai 1990. *Robbe-Grillet (Alain), Le voyeur, les \u00e9ditions de minuit, 1955<\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

films \u00e0 voir : SCIENCE-FICTION \/ SURVEILLANCE \/ PARANO\u00cfA : MODERN TIME (Les temps Modernes), Charlie Chaplin, USA – 1936 LA JET\u00c9E, Chris Marker, France – 1962 FAHRENHEIT 451, Fran\u00e7ois Truffaut, UK – 1966. PLAYTIME, Jacques Tati, FR – 1967. THE PRISONER, s\u00e9rie t\u00e9l\u00e9vis\u00e9e, Patrick McGoohan, UK – 1967\/68. 2001 L’ODYSSEE DE L’ESPACE, Stanley Kubrick, UK – 1968. THX 1138, Georges Lucas, USA – 1971. WOODY ET LES ROBOTS, Woody Allen, USA – 1973 THE CONVERSATION (Conversation secr\u00e8te), Francis Ford Coppola, USA – 1974 TREE DAYS OF THE CONDOR (Les Trois Jours du condor), Sydney Pollack, USA – 1975 BLADE RUNNER, Ridley Scott, USA -1982. VIDEODROME, David Cronenberg, USA -1982. OSTERMAN WEEK-END, Sam Peckinpah, USA -1983. LEVEL FIVE, Chris Marker, France – 1996. SNAKE EYES, Brian De Palma, USA – 1998. ENEMY OF STATE (Ennemi d’Etat), Tony Scott, USA -1999. MINORITY REPORT, Steven Spielberg, USA – 2002 INSIDE JOB, Nicolas Winding Refn, USA – 2004. DEJA VU, Tony Scott, USA – 2006. LA ZONA, Rodrigo Pla, Mexique – 2007.<\/span><\/span><\/span><\/span><\/p>\n

facultatif : PANIC ROOM, David Fincher, USA – 2002 ETROITE SURVEILLANCE, John Badham, USA – 1987. INDISCRETION ASSUREE, John Badham, USA – 1994. VOYEURISME \/ EXHIBITIONNISME : REAR WINDOW (FENETRE SUR COUR), Alfred Hitchcock, USA – 1954. LE VOYEUR, Michael Powell, UK – 1960. BLOW-UP, Michelangelo Antonioni, UK\/Italie\/USA – 1966. A CLOCKWORK ORANGE (Orange M\u00e9canique), Stanley Kubrick, UK – 1971. UNE SALE HISTOIRE, Jean Eustache, France – 1977. PARIS, TEXAS, Wim Wenders, All.\/Fr. – 1984. MONSIEUR HIRE, Patrice Leconte, France – 1989. SEX, LIES, AND VIDEOTAPE (Sexe, mensonge et vid\u00e9o), Steven Soderbergh, USA – 1989. SLIVER, Phillip Noyce, USA – 1993. EXOTICA, Atom Egoyan, Canada – 1994. YI YI, Edward Yang, Japon\/Tawa\u00efn – 2000. FINAL CUT, Omar Naim, USA – 2005 PARDONNEZ-MOI, Ma\u00efwenn, France – 2006 REDACTED, Brian De Palma, USA – 2008 L’ALBUM \/ CORPUS D’IMAGES (photos souvenirs \/ collection d’images) : LES CARABINIERS, Jean-Luc Godard, France – 1963. THEOREME, Pier Paolo Pasolini, Italie – 1968. CRIA CUERVOS, Carlos Saura, Espagne – 1976. TALCONES LEJANOS (Talons Aiguilles), Pedro Almodovar, Espagne – 1991. SMOKE, Wayne Wang, USA – 1995. MOI, TOI et tous les autres, Miranda July, USA – 2006.<\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

\u00e0 \u00e9couter : http:\/\/sites.radiofrance.fr\/chaines\/france-culture2\/emissions\/place_toile\/fiche.php?diffusion_id=77747 FRANCE CULTURE \u00e9mission du vendredi 6 novembre 2009 Sousveillance \/ Surveillance Invit\u00e9s Jean-Gabriel Ganascia. Professeur d’informatique \u00e0 l’universit\u00e9 Pierre-et-Marie-Curie. Jean-Marc Manach. Journaliste internet, auteur du blog Bug Brother, consacr\u00e9 \u00e0 la soci\u00e9t\u00e9 de surveillance, co-organisateur des \u00ab\u00a0Big Brother Awards\u00a0\u00bb. http:\/\/jean-marc.manach.net\/ (sous-veillance = documenter sa vie ; libert\u00e9 d’expression ; info-guerre pour arriver \u00e0 r\u00e9sister, pas avec des armes mais juste avec l’information pour emp\u00eacher des d\u00e9rives violentes => surveiller les surveillants.)<\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/p>\n

liens : > Le site de Jean-Gabriel Ganascia (ing\u00e9nieur et philosophe) > sous-veillance \/ catoptican http:\/\/www-poleia.lip6.fr\/~ganascia\/Catopticon > Comment vous prot\u00e9ger de cette tra\u00e7abilit\u00e9 \/ vivre sous cybersurveillance http:\/\/www.vie-privee.org\/liens\/liens.php > Qui surveillera les surveillants ? > blog de Jean-Marc Manach http:\/\/bugbrother.blog.lemonde.fr\/ > La vie priv\u00e9e, un probl\u00e8me de vieux cons ? http:\/\/www.internetactu.net\/2009\/03\/12\/la-vie-privee-un-probleme-de-vieux-cons\/ <\/span><\/span><\/span><\/span><\/p>\n


<\/span><\/span><\/div>\n
\/\/\/ Atelier optionnel Imprimer en XXL ouvert aux PJ4 Com-M\u00e9dias et Typo<\/span><\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/span><\/div>\n
Intervenant :<\/span> Mireille Riffaud<\/span><\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/span><\/div>\n
Pr\u00e9-requis :<\/span> <\/span><\/span>Connaissance des proc\u00e9d\u00e9s, fr\u00e9quentation pr\u00e9alable de l’un des ateliers (gravure, lithographie, s\u00e9rigraphie). Une pratique de l’estampe est pr\u00e9f\u00e9rable, ainsi qu’un travail plastique qui puisse donner lieu \u00e0 un projet de diffusion, une r\u00e9flexion sur le multiple<\/span><\/span><\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/span><\/div>\n
Contenu :<\/span> <\/span><\/span>tenter le grand format en estampe lui trouver une signification<\/span><\/span><\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n
Description <\/span>: Imprime en XXl suppose de se poser la pertinence de de cette question et comment on l’entend: s’agit-il de surface \u00e0 voir ou de grande distribution de l’image . O\u00f9 sont les limites techniques de cette grande image? de quelle mani\u00e8re est-elle en phase avec la recherche personnelle de l’\u00e9tudiant?<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n
Objectif <\/span>: Imprimer en grand format, pourquoi, pourquoi non ? Chercher une limite par la surface imprim\u00e9e, en termes de changement d’outils, de simplification d’\u00e9criture, de recherche de ph\u00e9nom\u00e8nes ostentatoires et r\u00e9p\u00e9titifs. Sur quel type d’image poser le d\u00e9volu de l’estampe? Pourquoi parier sur sa taille? La taille de l’image se confond elle avec la taille du support? \u00e0 quels espaces s’adresse-t-on quand on fabrique de grandes estampes? cet atelier s’adresse aux \u00e9tudiants d’art, d’illustration et de communication. les \u00e9tudiants inscrits dans le laboratoire autour des territoires et nouvelles spacialit\u00e9s trouveront ici un \u00e9cho \u00e0 leurs r\u00e9flexion sur l’\u00e9chelle et la repr\u00e9sentation.<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n
M\u00e9thode d’enseignement :<\/span> Enseignement en atelier : recherches pesonnelles, mise en commun des exp\u00e9riences, synth\u00e8se. Mise au point du projet, maquette \u00e0 l’\u00e9chelle 1, essais, discussions,mise au point, tirage.<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n
\u00c9valuation :<\/span> Avancement et maitrise du projet : 30%, qualit\u00e9s plastiques et pertinence de la r\u00e9ponse par rapport \u00e0 la probl\u00e9matique pos\u00e9e : 70%.<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n
<\/p>\n
Mat\u00e9riel n\u00e9cessaire :<\/span> Selon chaque projet: utilisation des ateliers.<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n
Techniques utilis\u00e9es :<\/span> Collage, Couleur, Dessin, Dessin-photographique, Encre de chine, Graphisme, Gravure, Gravure d’\u00e9pargne, Modelage, Peinture acrylique, Peinture \u00e0 l’huile, Photographie argentique, Pigment, St\u00e9nop\u00e9, Techniques diverses, Aquarelle, Volume, Gouache…<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/div>\n

R\u00e9f\u00e9rences bibliographiques <\/span>: Consulter les livres faisant r\u00e9f\u00e9rence aux estampes dans l’oeuvre de: Ellsworth Kelly, Brice Marden, Jim Dine, Georg Baselitz, Jos\u00e9 Manuel Vald\u00e8s, Philippe Favier.<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/p>\n<\/div>\n

<\/span><\/span><\/span><\/div>\n

<\/span><\/span><\/span><\/p>\n

\n

<\/span><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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