TEACHING

Teaching is a constituent part of my artistic practice and not a side activity. I practice it in different ways: Long courses , semester-long or annual, as well as interventions or workshops that can be adapted over a few days.

SEMESTERLY AND ANNUAL COURSES

VIDEO ART

Paris College of Arts 2015-2017 (english)
Emerson College & PCA 2018 (english)

Excerpt from syllabus:

« … This course invites students to submit to the constraints of economy of means and time in order to be able to "make a film" in any circumstance, using the photographic and narrative potential of the moment, the place and the camera in a spontaneous manner. In the theoretical part, we will focus on artists who have freed themselves from the segmentation of conventional production methods (writing the script, scouting, casting, creating the technical context) to concentrate on the creation of circumstances (meetings, travels, experiments, explorations, etc.) in order to create the unpredictable. The objective is not to develop a critique of commercial production methods but rather to train ourselves to lay new contemporary foundations..."

 

NEW MEDIA

“4D Studies” – Advanced Master in “computational design” – Ecole des ponts et chaussée, Paris, 2018. (english)

Research line:

"...Our object of study as well as primary medium is time. Any designer or builder is led to manipulate the user's perception of time, subjectively or objectively, by the quality of the spaces he implements around him. Even if time is an important piece of data in functional programming, it does not constitute, due to its immateriality, the raw material of an architectural project. We want to reverse this proposition here: Let us consider, for this research project, that time is not one of the constraints of a problem that must find a spatial and material resolution, but that the primary objective is the creation of the visitor's time under a single physical constraint: The body of this user and its use.
This does not exclude, however, that the response is physically architected, but the creation of spaces is neither obligatory nor an end in itself. We will not create space to create time, but we will create time to, possibly, create space.
A founding element of this reflection will be that of the “temporal object”, as initiated by Edmond Usserl, where “a temporal object is an object endowed with an internal movement whose unfolding follows that of the spectator’s consciousness ”.
 ».

 

« 4D studio » Paris College of Arts. Depuis 2012. (english)
« Master transdisciplinary new media » – Paris College of Arts. 2015-2018. (english)

Excerpt from syllabus:

« … 4d Studio is designed to give us the greatest possible flexibility in our practice: Making a film while composing music, drawing to animate, writing poetry to program... Or all of these together. The course is a project-oriented workshop interspersed with face-to-face sessions. It takes place alternately at PCA and in the teacher's studio. 
Referring to a particular medium can have a reductive and inhibiting effect on our practice. In this course, our only medium is time itself. The works produced can be described as "temporal objects" in the sense understood by Husserl, the father of phenomenology: An object "endowed with an internal movement whose unfolding follows that of the spectator's consciousness." Concretely, the use of this concept aims to give the greatest possible flexibility to our practice: Making a film as one composes music, drawing to animate, writing poetry to program it… Or all of this together and mixed together (“An image is one thing, a sound is another, this image and this sound together are yet another thing” Michel Chion)… »

 

SHORT MODULES

E.C.V. design – 2024
E.C.V. digitale – 2021
LE CUBE, formation chef de projet AGILE – 2018
Paris College of arts – 2017
Parson school – 2015
Atelier Eric Vernhes – 2012

Code as a language – Introductory theoretical module:
One day.
Beginners, generalists or artists.

Explanation of the founding concepts that are the basis of all computer devices, from the 17th century automaton to today's artificial intelligence: Automation and microcontroller, software and computers, low and high level language, pseudo-chance, interactions...
By telling the story of this historical and conceptual journey, the aim is to demystify technology and establish a familiarity among listeners that allows them to take hold of computer tools without apprehension.
Part of the intervention is in conference format, another is based on dialogue with listeners enriched with iconography and film extracts: together, we compare the reality of the technology discussed in the first part with the great myths of science fiction. We also uncover abuses of language and fallacious concepts to calmly reflect on our uses of technology, particularly those of artificial intelligence.
We are not in the realm of pedagogy but of a kind of playful dazzlement which must answer certain questions while posing new, more interesting ones.

Code and interaction workshop – Practical module
From 3 to 5 days.
Beginner, generalist or artistic audience.

Introduction to the development of computer applications and the manipulation of sounds, images, texts in interaction modalities (sensors) or self-generation. The computer language used is processing. The introduction to hardware development (implementation of sensors, motorized systems, etc.) will be done around Arduino microcontrollers.
Processing (software) and Arduino (hardware) are today the two components commonly used in technological artistic installations and devices that today define the school of "new media art".

Introduction to collaboration practices with artificial intelligence – Theoretical and practical AI module 
Duration: 1 to 3 days.
Beginner, artistic or generalist audience.

Introduction to collaborative practices with artificial intelligence.
Practical work on chatGPT, Midjourney and stable-diffusion allows to approach, in addition to the work of other artists, the following themes:

– Development of a critical reflection on the artistic, societal, commercial impacts of AI.
– The notion of Author at the risk of AI.
– Introduction to different concepts of theorists (the “latent world” of Gregory Chatonski, the “Noise” in Deleuze…).
– The artist as creative director of AI and as director.
– The artist as Curator and editor of AI.
– The artist as designer of systems.
– The artist as explorer: forms of expression and universes.

Max8 Training (Max / Msp / jitter) – Professional training module

Minimum duration of one week.
Artistic audience, preferably computer literate.

Max 8, formerly known as Max/MSP Jitter, is a graphical programming environment that allows you to process, generate and interact with MIDI data, audio, video streams, and any other type of data, such as those coming from sensors.
Audience: composers, developers, performers, sound technicians, choreographers, sound designers, videographers, live-coders, music or visual arts teachers, makers…