Brice Ammar-Khodja

Born in Colombes in 1992, Brice Ammar-Khodja graduated from Haute École des Arts du Rhin with a design specialisation. He questions the ambiguities between fine arts and applied arts as well as the place of the unknown in creation. His work ranges between art, design and scientific research. Trained in graphic design, his research problems target the relation between form and utility. He had to get rid of his convictions built during his design practice before he stepped in a laboratory and let himself trust chance discoveries. The word “serendipity” imposed itself to him. It is a combination of art, imagination, science and investigation. It encourages you to meet with the strange, with the unknown and requires you to hop from research to research to finally open the way for the paradox that is to find what you are not looking for. By using a research laboratory, he reinvented his practice. On the bench his productions are embedded in an experimental process that transform them, and bring them far from his initial intent. His first lab experiment was led within the IS2M (Materials’ Science Institute of Mulhouse) in a group specialized in the interaction between surfaces and water. Since then, water fuels his imagination. Influenced by its movements, through a process of hybridization, he seeks to create interfaces of dialogue between disciplines, at the convergence point of poetry and rationality, experimentation and dream. Artistic lab, science poetry? He keeps memories, images, atmospheres, and dream and narrative universes from his first relations with the world of sciences. Now that he is a research student at EnsadLab and part of the Reflective Interaction group, his research questions the symbolic and spatial relation between active materials and envisioned projects as well as the relation between environment and users through the scope of happenings and improvisation.

Website: b-ak.com

Didier Bouchon

Didier Bouchon studied biology and obtained a degree in Applied Arts at Boulle. An autodidact, he learned about computer programming, electronical devices and graphic design. He was immediately interested by issues linked to Artificial Life and Artificial Intelligence. He was a pioneer in video games and 3D systems. He has been a programmer for Cryo, Infogrammes, Virgin Games and Mindscape and he developed in particular L’arche du capitaine Blood (1988, Ère Informatique) in collaboration with Philippe Ulrich. In 1996, he co-founded his own video game design company, Comptoir des planètes, where he designed the architecture of Avatarstudio, a 3D avatar creation software that will serve the 2nd World virtual community, precursor of Second Life, developed by Canal Numedia, which he joined in 2000 as technical director of 3D developments. Since 2002, he directed his research towards a more artistic point of view, in his personal work as well as in his work with the association Music2eyes and with numerous artists. From 2003 to 2015, Didier was the technical director of the creating pole of the Cube, centre of digital creation in Issy-les-Moulineaux. He thus directed or supervised diverse works. In that respect, he collaborated with artists such as Miguel Chevalier, Bernard Michel, Bertrand Planes, Bertrand Lamarche, Anne Sarah Le Meur, Moebius, and institutions such as the ZKM in Karlsruhe. From 2014 to 2017, he intervened in the research & creation engineering of the research program of Reflective Interaction — EnsadLab, laboratory of École nationale supérieure des Arts Décoratifs (EnsAD – PSL Research University Paris) — and, since 2018, he has been working for la Chaire “arts & sciences” of École polytechnique, EnsAD-PSL and the Daniel & Nina Carasso Foundation.

Julie Blanc

Julie Blanc is a graphic designer. After obtaining a degree at École de recherche graphique (erg) in Brussels, she became a research student at EnsadLab, the laboratory of École nationale supérieure des Arts Décoratifs (EnsAD, PSL) in Paris. More specifically, she entered the research program of Reflective Interaction in the Hybrid publishing axis. Her research focuses on the design of multi-media and multimodal editions. Through the practice of design, Julie studies and questions the publishing technologies and their influence on editorial objects thanks to their graphic or interactives assets. Therefore, she works on the characteristics of each editorial media. At the same time, it seeks to change the practices of designers towards creative uses of programming. To this end, she primarily uses Web technologies (HTML5, CSS3, javascript, epub) for digital objects as well as printed ones. Julie is part of the collective research organised by the PrePostPrint group which gathers members working on experimental publishing techniques. She also works on the development of web browsers layout tools for the pagedmedia.org group.

Website: julie-blanc.fr

Samuel Bianchini (PhD – HDR)

Head of the Research Group “Reflective Interaction”

Samuel Bianchini is an artist and associate professor at École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL Research University Paris. Supporting the principle of an “operational aesthetic”, he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories. His works are regularly shown in Europe and across the world: Nuit Blanche Toronto 2016, Waterfall Gallery (New York), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc.

After defending his PhD thesis (from Université Paris 1 – Panthéon-Sorbonne) in an art center (Palais de Tokyo in Paris) with a solo exhibition, and, more recently, his accreditation to supervise research, Samuel Bianchini is now the head of the “Reflective Interaction” research group at EnsadLab, the laboratory of EnsAD, and the Co-Director of the Chaire Arts and Sciences recently founded with École Polytechnique and the Daniel & Nina Carasso Foundation. He is a member of the SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervise PhD in art and design. He is also member of the canadian research-creation network Hexagram.

In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to numerous publications edited, for example, by Editions du Centre Pompidou, MIT Press, Analogues, Media-N – Journal of the New Media Caucus, Hermes, Les Presses du Réel, Springer, etc. He has recently co-edited with Erik Verhagen, Practicable. From Participation to Interaction in Contemporary Art, MIT Press, 2016 and, with Emanuele Quinz, Behavioral Objects 1 – A Case Study: Céleste Boursier Mougenot, Sternberg Press, 2016.

Website: www.dispotheque.org

Publications (selection)

Articles:
• Research Gate: http://www.researchgate.net/profile/Samuel_Bianchini
• Academia: https://ensad-fr.academia.edu/SamuelBianchini

Books:
Practicable. From Participation to Interaction in Contemporary Art, Ed. MIT Press, Cambridge / London, 2016:
https://mitpress.mit.edu
Behavioral Objects, Ed. Sternberg Press, Berlin / New York, 2016:
http://www.sternberg-press.com
Audience Works, Ed. mfc-michèle didier, Brussels, 2013:
http://www.micheledidier.com
Simulation technologique & matérialisation artistique – Une exploration transdisciplinaire Arts / Sciences, Ed. L’Harmattan, Paris, 2011:
http://www.editions-harmattan.fr
Recherche & Création. Art, technologie, pédagogie, innovation, Montrouge, Ed. Burozoïque and École nationale supérieure d’art de Nancy, Montrouge, 2009; reissued by Art Book Magazine, Paris, 2012:
www.artbookmagazine.com
Joseph Beuys – Films et vidéos, Ed. Centre Pompidou, Paris, 1994:
www.centrepompidou.fr

David Bihanic (PhD)

Designer and founder of the FXDESIGNSTUDIO (FXDS) digital design agency, associate professor at Paris 1 Pantheon Sorbonne — permanent researcher at the ACTE Research Institute (UMR 8218), and associated researcher (honorary member) responsible for Digital Affairs at CALHISTE Laboratory (Culture, Arts, Literature, History of Societies and Foreign Territories — EA 4343) as well as at EnsadLab — David Bihanic examines the different paradigms of visualization and manipulation of large and complex datasets. Thanks to cognitive-aesthetics analysis of visual organizations of information, he explores new opportunities for data design (data visualization aesthetics, and creative informatics). David is an accomplished professional with more than fifteen years of experience in creative design industries. He published several books and book chapters, as well as numerous scientific articles relating to the new stakes of design (considering the linkages between Design and Engineering Sciences); he then takes an active part in the evolution and transformations occurring in this field. His research is also centered upon new “end-user” interfaces (map-like, tangible, relationship-based interfaces, etc.).

Website: www.davidbihanic.com

Socorro Castro García (PhD)

Socorro Castro García is Associate Professor (Profesora Titular de Universidad) of Inorganic Chemistry at the University of A Coruña (UDC). Since her PhD studies at the University of Santiago de Compostela about magnetic materials, Socorro has been dedicated to the research and development of functional materials. During her postdoctoral stage (1996-1998) at the University Paris 6 (France), she focused on the preparation, characterization and study of materials (ionic conductors) with electrical and optical properties for cathodes of Li-batteries and for electrochromic devices. After the incorporation at the University of A Coruña in 1998, in the Solid State Chemistry group led by María Antonia Señarís Rodríguez, she continued doing research on functional materials with electrical, magnetic and/or optical properties, covering functional oxides, metal-organic frameworks, nanoparticles, with magnetorresistive, dielectric, magnetoelectric, and multiferroic properties. Socorro is co-author of one patent, more than seventy scientific articles published in international journals and more than a hundred and thirty scientific communications in national and international congress. She participated in twenty-one research projects and she works regularly as visiting research in other international laboratories (University Paris 6, France; University Diderot-Paris 7, France; University of Berkeley, U.S.A.; European Synchroton Radiation Facility, Grenoble, France; Institute Laue Langevin-Neutrons for Science, Grenoble, France; École nationale supérieure des Arts Décoratifs, Paris, France). She directed five PhD theses and several master theses and degree theses. Socorro is reviewer of scientific journals such as Chemical Science, ACS Applied Materials & Interfaces, Chemical Engineering Journal, Journal of Colloid and Interface Science, Journal of Physics D: Applied Physics, Materials Science and Engineering B, Journal of Solid State Chemistry, Journal of Physics and Chemistry of Solids, Journal of Physics: Condensed Matter, Journal of Alloys and Compounds, Materials Research Bulletin, Acta Crystallographica Section B, Journal of Magnetism and Magnetic Materials, IEEE Transactions on Magnetics, etc. She is also very active on science dissemination, giving conferences, lectures and workshops in libraries, museums and schools.

Website: https://cica.udc.es/es/grupo/quimica-molecular-y-de-materiales

Francesca Cozzolino (PhD)

Francesca Cozzolino teaches humanities and social science at École nationale supérieure des Arts Décoratifs (EnsAD), PSL Research University, Paris. She is a research associate at EnsadLab, the research laboratory in art and design at EnsAD and an affiliate member at Laboratoire d’Ethnologie et de Sociologie Comparative (LESC-CNRS) of the Paris West University Nanterre La Défense. Specialised in ethnography of artistic practices, her research studies intertwine visual studies and anthropology of art and writings with a special attention to writings displayed in public spaces. Since 2010, she has headed numerous inquiries worldwide into the field of art and design and has led several research missions in France and abroad (Europe, United-States, Benin and Mozambique) by developing a descriptive ontology of creation and by aiming at studying the different shapes and levels of creative agency, and its ability to operate within the social fabric.

Her current research deals with the production and circulation of knowledge and know-how in the field of art and design and questions the production of knowledge in action by artistic practices within modern societies. She has published several book chapters and scientific papers and she often contributes to art and design journals and exhibition catalogues. She also collaborates with artists by implementing projects that combine both art and social science. She is a member of the editorial board of the journals “Ateliers d’Anthropologie”, “Polygraphe(s)” and “Quadernos de Arte y Antrhopologia”.

Publications (selection)

• Cozzolino Francesca, Peindre pour agir. Muralisme et politique en Sardaigne, Paris, Ed. Karthala, 2017:
http://www.ensadlab.fr/fr/francais-publication-peindre-pour-agir/
• Cozzolino Francesca, Cumbe Cumbe, Fraenkel Béatrice, Les écritures urbaines de Maputo : lire, écrire, agir dans la rue, Maputo, Ed. Alcance, 2016:
http://www.ensadlab.fr/publication-les-ecritures-urbaines-de-maputo/

Dominique Cunin (PhD)

Dominique Cunin is graduate of École Nationale Supérieure d’Art de Nancy and the EESI of Poitiers (Master). The topic of his art project is the representation and understanding of space through digital technologies of image. His practice englobes computer graphic animations, interactive installations, experimental softwares development, multiuser online environments and art experiments on mobile devices. A one-year exchange program with the Kanazawa University of Art allowed him to study japanese which he speaks fluently today. He is currently a PhD student at Université Paris 8 under Jean-Louis Boissier’s guidance, a researcher at EnsadLab (École Nationale supérieure des Arts Décoratifs, Paris, for the program Écrans mobiles et Récits interactifs), and a teacher in digital media at Valence’s school of the art and design. He had the opportunity to be curator of the exhibition Continuum, in the official program of Luxembourg 2007, within the European capital of culture. His works are shown in exhibitions related to research programs such as In-Out (2006-2008, Paris – Citu), PlayTime (2011 – Yverdon-les-bains, Swiss) and published in online publications (2010 – So Multiples) or printed books (2009 – R & C – Recherche & Création – Burozoïque/Ensa Nancy). His participation at Isea 2011 involved the use of Mobilizing, a programming language for mobile screens created for visual artists. Since 2008, he is Mobilizing’s co-developer as well and its major contributor. Mobilizing resulted into the establishment of a collaboration between the lamas (Japan) and the HEAD (Geneva) where Dominique occasionally intervenes in the Media Design Master degree.

Website: dominiquecunin.acronie.org

Alexandre Dechosal

Particularly interested in digital media and graphic design, Alexandre Dechosal joined in 2007 École Supérieure d’Art et Design in Valence (Drôme), where he obtained a DNAT then a DNSEP. During five years of study, he focused his practice on the issues of screen graphics within ergonomic constraints. His research, also applied to everyday life, lead him to question the mobility of graphic interfaces. Alexandre joined EnsadLab in 2012, first in the EMeRI program and then in DiiP (now Reflective Interaction), in 2013. He took part in many events such as Surexposition where he designed the identity and the interface of the application. Since 2015 and still today, he continues to practice as an independent graphic designer and remains intimately linked to the project developed by Reflective Interaction: the MisB Kit interface, the identity and the user interface of Mobilizing-js, Discontrol Party #3, the identity and design of the site of Reflective Interaction, etc.

Website: alexandre.dechosal.free.fr

Keyvane Alinaghi

After a multimedia and computer science training, Keyvane Alinaghi focused his work on graphic design. He is a composer of electronic music for the Master Class of the music research studio Art Zoyd and a computer graphic designer. His intent of mixing videos and sounds in interactive spaces became clearer in 2006, when he studied the dynamic senography in the “Creation et Ingénierie Numériques” Master’s degree of Valenciennes University. He developed several audiovisual interactive installation and real time devices for live electronics performance. He worked, in 2009, as engineer on the research project “Practicable. The Work of Art as Dispositif: Setting the Stage for Audience Participation” supported by the French Research Agency (ANR). He works today in the Drii Research program (now Reflective Interaction) at École nationale supérieure des Arts Décoratifs (EnsAD, Paris). His work is based on the concept of gestual coherence, legibility in interactive devices (how to make the viewer, the audiance aware of theirs actions) and on the collective interactions.

Website: http://faceboobs.org/web/

Marie-Julie Bourgeois

After studying visual communication, Marie-Julie Bourgeois worked at Partizan Production company as an Artistic Director and a post-production graphic designer. Developing her own artistic research, she produced a series of experimental videos on the body and its extensions through various collaborations with musicians. In 2007, she participated to a collective exhibition about metamorphosis and body mutations at Dialogos gallery. In 2008, she received a Master of New Media at École Nationale Supérieure de Création Industrielle (ENSCI) with honors. She developed interactive devices dealing with the issues of tele-presence, where the camera object is a machine invading our everyday life. Tempo (mapping the sky in real time) was exposed at the “Nuit Blanche 2008” on the occasion of “Nemo” festival, at “SIANA” festival in Évry and Brazil. Void Extension (behaving virtual camera) is presented at “Future en Seine” at Pavillon de l’Arsenal and at “Piksel” festival in Norway. In 2009, she receives the digital creator grant from the Jean-Luc Lagardère Foundation for Parallel Distorsion (interactive temporal distortion).

Website: mariejuliebourgeois.fr

Colin Bouvry

Creative coding, electronic, video mapping, museum, light, interactive design, audiovisual installation, engineering, digital scenography, event video games, multimedia and hacking compose the work of Colin Bouvry. Trained in technical courses in electronics and image and sound engineering, Colin has cultivated his passion for the mix between art and technology. He developed an interest in technologies: libCinder, openFrameworks, Arduino, LIDAR (Light Detection And Ranging), ROS (Robot Operating System) for creative projects. He began his professional career in digital art gallery Numeriscausa in Paris and works with: the Laserquest gallery, Fred Sapey-Triomphe, Etienne Brunet, Mosquito, Igor Novitzki, Toshiba, Museomix, Bright, WeAreSocial, Blackboxe, etc. He works as a research and creating engineer for the team Reflective Interaction of EnsadLab. He enjoys creating original artistic experiences by questioning the relationship can be established with the public.

Website: www.colinbouvry.com

Antoine Desjardins

For numerous years, Antoine Desjardins has been committed in the fine art field on topics around sculpture and its making up. His various subjects use tensions between cultural values and natural organisations which are disclosed by graphic and photographic images. After getting his Master’s degree on “The use of plastic materials in art” in the University of Provence Aix-Marseille (1980), Antoine lived and worked in New York city from 1981 to 1990. He currently lives in Paris where he pursues a reflexion on the influence of digital tools and language in the process of form creation in fine art. Since 1993, he has been teaching art, particularly the evolution of representation systems and production means. He founded digital practice studios of sculpture and object in the national art schools of Nancy and Limoges. He has been a member of colloquium committees of École des Mines of Nancy (“Métallurgie, Art, Informatique 2003”, “Iris, sens et essence de la couleur 2005”) and has played a part under many forms in various art schools and Universities (“Pertinence des outils numériques dans les processus de création de formes et d’images” École d’art de Trèves (Allemagne) 2004, “Dust & Digital. On the incidence of digital tools in object conception and creation” Jingdezhen Ceramic Institute, Jingdezhen, China, 2008, “Eines informatiques en els processos de creacio” Facultad de Bellas Artes, Barcelona 2009, “Plurivocité et ubiquité des outils numériques” École d’Etat des Beaux-Arts de Yerevan, Armenia 2010, etc.). He collaborated with professionals (Société NSided, conception du logiciel Quidam3D, 2005, Metallurgie Rml-MicronEst, Florange, 2010). His art work is regularly shown in galleries and exhibitions. He has been working on some Modules “recherche & création” since 2015 (http://re0010111100001010form0101111100001010digit.ensadlab.fr/ 2015, http://beamskaikaolin.ensad.fr/ 2016), (rep-derap.ensad.fr 2017 et 2018). He now teaches in the “Art et Espace” section and is in charge of 3D-4D printing in the Reflective Interaction group of EnsadLab.

Website: ownwo.net

Cécile Bucher

Cécile Bucher works as a freelance coder in the creative field and studies in parallel at Head (Haute école d’art et de design de Genève) in the visual arts department. She obtained a bachelor in illustration with distinction at the St-Luc Institute of Arts in Brussels in 2003, in Belgium, and a bachelor and master, in 2007 and 2009, in computer science at École Polytechnique Fédérale of Lausanne in Switzerland (EPFL). She has previously been working for many years at the Ars Electronica in Linz, Austria, as a creative engineer, where she had been involved in developing interactive installations mostly in C/C++ as well as creating concepts for interactive exhibitions. Before, she worked for the professor Frédéric Kaplan as a Research & Developer engineer where she contributed to the development of new interactive technologies. She participates today in the development of the robotic toolkit MisB Kit in within the Reflective Interaction group at EnsadLab and follows in parallel her artistic projects, often related to new technologies. She currently lives in Geneva, Switzerland.

Website: cecilebucher.net

Quentin Bréant

Quentin Bréant was born in 1986 in Le Havre. He joined École Régionale des Beaux-Arts de Rouen after secondary school and obtained his DNSEP arts in 2009 by focusing his work on fiction and politics. His fictions mix reality and imagination, contemporary geopolitics and absurd situations. Its realizations are not attached to one sole medium: the plurality of the employed means allows the viewer various ways of access. In 2009, he joined École Supérieure d’Arts du Havre in the Graphic Design section. He then discovered a new facet of multimedia and created programs taking into account the user’s activity. He then explored the multiple possibilities of interactivity, from sound rhythms to movements in space. He attached great importance to the graphic result of the work.

Sylvie Tissot

Before founding her company, Anabole, Sylvie Tissot first worked for Alstom Research Center and then for Artgroup, a company dedicated to special effects and androids. She provides services for SMEs, Major Groups and Institutions: Champs Libres in Rennes, Theâtre de Chaillot, Museum of Natural History in Paris and Lyon, Orange, Navidis, etc. She worked many years for digital companies like Tralalère, Drôle de Trame and La Fracture Numérique. She recently joined Art2M’s team. She teaches programming languages during workshops at Ensci-Les-Ateliers, a design school. She also helps various artists on technical fields and chaired the association “we love the net,” that promotes design and artistic projects. Finally, she spends some of her time on research projects about computer science, in partnership with laboratories (LRI, LIMSI, EnsadLab).

Website : www.anabole.com

Carole Ecoffet (PhD)

Carole Ecoffet is a senior scientist at CNRS since 1995. She holds a diploma from ESPCI Paris (École Supérieure de Physique et de Chimie Industrielles and a PhD in physico-chemistry from Paris 11 University. Her scientific research at IS2M (Institut de Science des Matériaux de Mulhouse, UMR7361) lies at the interface between material science and optics. She studies interactions between light and materials. She studies also set-up and processes for micro and nano-fabrication, in connections with 3D printing by photolithography processes. Besides her scientific research, she also gives public lectures to stimulate young people’s interest in S&T and to communicate to non-specialist about up-to date scientific challenges. For few years, she is working with visual artists. Beyond speculative exchanges, projects leads to concrete works for which one have to challenge practical questions by innovative pathways. Working with artists questions practices and certainties arising from the labs. Artists residencies have led to artworks productions and analysis of the practices have been presented in academic lectures. These studies are in connection with a laboratory of epistemology and of philosophy of science, Archives Henri Poincaré – Philosophie et Recherches sur les Sciences et les Technologies (UMR 7117), where she is associate researcher.

Website: https://www.is2m.uha.fr/fr/nos-axes-thematiques/molecules-nano-micro-structures-elaboration-et-fonctionnalites/#

Manuelle Freire (Ph.D)

Manuelle Freire is currently postdoctoral researcher at EnsadLab (Paris). She is a lecturer and program developer in art-science-technology for academic and cultural institutions. With the aim to propose institutional change in academia, she investigates models for multidisciplinary, cross-institution and cross-sector team research and education in research & creation. This work unfolds as part of la Chaire “arts & sciences”, jointly created by the Daniel & Nina Carasso Foundation, École nationale supérieure des Arts Décoratifs, and École Polytechnique. She trained and practiced as a designer before pursuing scholarly research and academic roles since 2008: She was teaching assistant, and then part-time faculty in the department of Art Education at Concordia University (2008-2014); Assistant to the vice-dean of Fine Arts in the curriculum development of a Masters’ of Research & Creation (2009-2012); Programme coordinator of Hexagram: the international network dedicated to research & creation in media arts, design, technology and digital culture (2013-2016); Associate artistic director at ELEKTRA – BIAN (2016-2017).

Marion Flament

Marion Flament is an artist and a set designer, she currently works in collaboration with different designers and artists by combining her reflexion about space with the production of art pieces in the form of artistic devices and performaces. With a set design educational background, graduated from École Boulle in 2010, she obtained in june 2014 her master at EnsAD. Currently a student-researcher at EnsadLab in the Reflective Interaction program, in interactive light, she develops her work around everyday life experience by the observation of physical phenomenons and sensations linked to our immediate environment, in order to inquire about our personal practice of space.

Website: marionflament.com

Julie Brugier

Julie Brugier is a product designer, currently pursuing a PhD at PSL University, in the Reflective Interaction Research group of EnsadLab. In 2012, she started working on vulnerable populations (touched by poverty, prostitution, migration) and developed an interest for on-the-ground research. All her projects are preceded by a moment of immersion in a specific environment which she documents and from which her design works are inspired. More recently, Julie has been questioning the symbolic, technical and aesthetical renewal of our daily environments in relation to the ecological crisis. Her work concentrates on one tendency of this renewal, which gives value to frugality, poverty and subsistence in design practices. Her work can be divided in several topics: object production which questions our resources and tools, public events designed as experimental moments and eventually some theoretical research.

Website: www.juliebrugier.com

Igor Galligo

Initially trained in humanities, Igor Galligo got three Master’s degrees: contemporary philosophy and aesthetics at the University Paris 1 Sorbonne, and political science at École des Hautes Études en Sciences Sociales. His investigation of abstract painting influenced his theoretical studies, giving in turn new impetus to reflection to his artistic practice. This new dialogue between poïetic and theoria led him to a fourth master in the Department of Arts and Sciences of Art at Paris 1 University. Since the end of 2012, he has developed his reflection on the topics of ambiance devices and scattering of attention, under the direction of Bernard Stiegler, director of the Institute for Research and Innovation Centre Pompidou. In 2013, he joined the research program DiiP (now Reflective Interaction) at EnsadLab, led by Samuel Bianchini. He is also a member associated with GERPHAU member search site MCC UMR / CNRS – LAVUE (Laboratoire Architecture Ville Urbanisme Environnement), and a member of Ars Industrialis, association led by Bernard Stiegler which reflects on an industrial policy technologies of mind. He has been a teacher in philosophy and semiotics of design at École de Condé since October 2013. Igor is currently finishing editing a collective work bringing together artistic and scientific contributions on the theme of artistic devices and situated interactions. He leads with Bernard Stiegler at the Pompidou Centre an international and interdisciplinary seminar research on the topic of Ecology attention commencing November 2013. In April 2014, from an artistic direction of this research theme, he will coordinate a seminar with Yves Citton, for students of master Critical Curatorial Cybermedia at the High School of Arts and Design in Geneva. A symposium in EnsAD on the subject of “ambiance devices” will take place in spring 2014. His artistic production and design mainly focuses on the realization of experimental light installations. Photography, experimental movies, electronic music and painting are additional media utilized. In autumn 2013, a contract for lighting design from the SARL Batofar for the redevelopment of the outer part of this Parisian nightclub was received. A partnership of research & creation between EnsAD and the School of Industrial Physics and Chemistry of the city of Paris is in progress for the production of a light device in connection with his research on the scattering of attention commenced in November 2013.

Lucile Haute (PhD)

Lucile Haute is an artist, PhD in fine arts, lecturer in design at Université de Nîmes and associate researcher at EnsadLab. She studies graphic, editorial and interactive design, the artist’s book and art edition (print, hybrid or digital), forms of publication of research in art and design, the new ways of publishing, the design of scientific editions (periodicals, books) and hybrid forms of fiction (text read and to read, etc). Lucile studied the habitability of the contemporary world by embodying a particular cyborg figure, with performances at the edge of tangible and digital spaces. She uses actual tools and techniques: from the more traditional ones (drawing, design object, wood, photography) to more modern ones (digital technologies, virtual realy, apps). She directs the collection liteʁal from Art Book Magazine (Paris) which presents digital books and well as printed ones, in French or in English, dedicated to modern art, design and research in those areas. Each essay or text of this collection is subjected to graphic experimentations as well as typographic, interactive, plastic and aesthetical ones. As she explores the book’s response to livre to the digital era, her approach is a research by and through design. Lucile is a permanent member of EA 7447 – PROJEKT, from Université de Nîmes, and associate member of EA 7410 – SACRe (Sciences, Arts, Création, Recherche), from Paris Sciences et Lettres Research University. Her work can be found on her website lucilehaute.fr. She is a founding member of the collective Hyperfictions.org.

Publications (selection)

Management of issued reviews with reading committee:
• Renée Bourassa, Lucile Haute, Gilles Rouffineau (dir.) Revue Sciences du Design #08 : Éditions numériques, Paris, Puf, 2018:
http://sciences-du-design.org/

Articles in peer-reviewed journals:
• Lucile Haute and Julie Blanc, “Publier la recherche en design : (hors-)normes, (contre-)formats, (anti-)standards”, in the journal Réel Virtuel n°6 : Les normes du numérique, 2018:
http://reel-virtuel.com/
• Lucile Haute, “Recherche-création dans les écoles d’art et institutions françaises”, in Archée : Re-Create, la recherche-création en acte, directed by Cécile Martin, July 2016:
http://archee.qc.ca/ar.php?page=article&no=518
• Lucile Haute, “Traversée de l’écran (et retour)”, in Figures de l’Art n°26 : Les nouveaux dispositifs immersifs, Bernard Adrieu (dir.), Presses universitaires de Pau, pp. 451-466:
http://www.presses-univ-pau.fr/cart/Categorie/1/figures-de-lart

Book chapters:
• Lucile Haute, “Chapitre V – Design des catalogues d’exposition sur supports numériques. Études de cas.” in Alexandra Saemmer and Nolwenn Tréhondart (dir.), Livres d’art numériques : de la conception à la réception, Paris, Hermann, June 2017, pp.109-123.
• Lucile Haute, “Chapitre VII – Portfolio : Conception graphique de catalogues d’expositions numérique.” in Alexandra Saemmer and Nolwenn Tréhondart (dir.), Livres d’art numériques : de la conception à la réception, Paris, Hermann, June 2017, pp.139-149.
• Nolwenn Tréhondart and Lucile Haute, interview with Tomas Bijon “Chapitre IV – Le livre s’anime, devient vivant, réagit quand on le caresse…” in Alexandra Saemmer and Nolwenn Tréhondart (dir.), Livres d’art numériques : de la conception à la réception, Paris, Hermann, June 2017, pp.97-105:
http://www.editions-hermann.fr/5125-livres-dart-numeriques-de-la-conception-a-la-reception.html
• Lucile Haute, “L’hyperfiction Conduit d’aération : entre littérature et design, construction d’un roman augmenté pour tablettes et liseuses”, in Les écrans tactiles mobiles, Anaïs Guillet (dir.), Paris, Ed. publie.net, 2015:
https://www.publie.net/2015/12/31/nouveaute-lectures-digitales-lecran-au-bout-des-doigts/

Conference proceedings:
• A. Saemmer, L. Haute, A. Herbet, O. Farge, “L’hyperfiction Conduit d’Aération, figures de la lecture et de la déambulation”, in H2PTM 2013, Paris, Ed. Hermès-Lavoisier, pp. 161-190:
https://www.lavoisier.fr/livre/informatique/pratiques-et-usages-numeriques/saleh/descriptif-9782746245792
• Lucile Haute, “The Touch of the Avatar, Artistic research and performance with synthetic doubles”, Simon Richir (dir.), Virtual Reality International Conference – Laval Virtual 2014 Proceedings, ACM, 2014:
http://dblp.org/db/conf/vric/vric2014.html
• L. Haute, A. Saemmer, O. Farge, “Writing and performing a narrative hypertext”, in Proceedings of Virtual Reality International Conference, Simon Richir (dir.), ACM, 2013:
http://dblp.org/db/conf/vric/vric2013.html
• Amato Etienne-Armand, Claire Sistach, Lucile Haute: “Inter Screen, between humans and avatars”, Proceedings of Virtual Reality International Conference, Simon Richir (dir.), ACM, 2012:
http://dblp.org/db/conf/vric/vric2012.html

Book review in peer-reviewed journals:
• Lucile Haute, “Contre-temps, De la recherche et de ses enjeux. Arts, architecture, design. Pierre-Damien Huyghe” book review in Azimuts 48-49 : Le type : règne, crise et critique, ESAD/Cité du design, 2018:
http://www.pollen-difpop.com/article-8549-azimuts-cite-du-design.aspx

Article in journals without review committee:
• Lucile Haute and Julie Blanc “Standards du web et publication académique” in CodeX n°1, Paris, editor HYX, 2017, pp. 14-15:
http://www.editions-hyx.com/fr/code-x

Others:
Director of the collection liteʁal by Art Book Magazine (Paris).
From Bits to Paper, Filipe Pais (dir.), collective, printed by 24x32cm + ePub, 196 pages, 2018, language: English.
La création à l’œuvre, autour d’une exposition de l’artiste et typographe Pierre di Sciullo, Francesca Cozzolino (dir.), collective, ePub, language: French.

Sophie Krier

Sophie Krier (1976, LU / BE), artist and researcher, develops tools for collective narration and reflection at the intersection of art and deep ecology. Initially trained in textile design at the Design Academy Eindhoven, today she interweaves stories that connect beings and places. Through her situated practice, she invests herself in education, research and ephemeral outdoor interventions. Between 2004 and 2009 she directed the undergraduate course designLAB (Rietveld Academie, NL). In 2008, Sophie initiated Field Essays, an ongoing research in which she brings together artistic practitioners and thinkers in an effort to bridge the different forms of knowing intrinsic to their practices. Field Essays takes the form of hybrid, occasional books published by Onomatopee. Sophie currently directs Art & Design Practice: a program in the spirit of Liberal Arts & Sciences, which she developed on invitation of University College Roosevelt (NL). Since 2017, she is associate researcher at EnsadLab Paris in the context of la Chaire “arts & sciences” of École polytechnique, EnsAD-PSL and the Daniel & Nina Carasso Foundation. Sophie’s works are supported on the long term by [NA!] Project.

Websites:
www.sophiekrier.com
www.fieldessays.net
www.thinklikeamountain.net

Publications (selection)

• Krier S. & Shiratori H., “Fiction as Function: Unusual objects from Japan, Design Fiction”, in: Alex Coles (ed.), Design Fiction, EP Volume 2, Berlin, Sternberg Press, 2016, pp. 113-128
• Krier, S. (ed.), How to think like a mountain in a land of Sea, University College Roosevelt & Municipality of Veere, 2016
• Krier S. (ed.), Sigurðarson B., Ingold T., Edelkoort L., 2015, Field Essays: Things that happened, Eindhoven, Onomatopee, 2015
• Krier S. (ed.), Muecke J., Princen B., Field Essays: Every Image Contains An Object, Eindhoven, Onomatopee, 2012
• Krier S. (ed.), Hess B., Mc Rae L., Pokropski M., Field Essays: Pick of Sticks Embodied, Eindhoven, Onomatopee, 2008

Charlotte Gautier

Charlotte Gautier is a visual artist, scenographer and student researcher. She lives and works in Paris. Graduated from École nationale supérieure des Arts Décoratifs de Paris in 2014, her practice is transversal and concerns both the Visual Arts and the Performing Arts fields. Her work has been the subject of several exhibitions in France and abroad (Nuit Blanche de Bruxelles, 6b, La générale, Hors-les murs du Palais de Tokyo, Cité des Arts, Mairie du 5ème, Casa de Velazquez in Madrid, Centre National des Arts de la Scène in Beijing, etc.). In 2014, she joined EnsadLab’s SAIL group, working in collaboration with glass craftsmen to create lighting devices integrating blown glass. Nourished by this work on caustics (interactions between light and glass), she joined EnsadLab’s Reflective Interaction group in 2015. There she developed a research work on light inspired by natural phenomena as well as on the connections and interactions between the public, the artwork and the exhibition space. She attempted to recreate immersive spaces in which digital and analog combine to write organic light scores. Her devices generate or reveal sensitive dimensions capable of disrupting the aesthetic experience. They plunge the spectator into a situation where the loss of reference points opens up an imaginary space, where the body swings out of time and space for a simultaneous sensory experience of light, movement and matter.

Website: charlottegautiervantour.fr

Annie Leuridan

Annie Leuridan lives in the North of France. She is a light scenographer, a landscaper, an activist, she co-writes documentaries and is an assistant director. She creates light for shows and installations for exhibitions. Her works parallels the opera and modern theater’s exploration of diverse scenic forms. Today, she devotes her time to light for dance shows (for Mylène Benoit, Nathalie Baldo, Cyril Viallon, Amélia Estevez with whom she co-signs Fôret/Selva) according to spaces, volumes, colors and rhythms as elements of narration. Her meetings with plastic artists (such as Isabelle Bonté, Marie-Julie Bourgeois, Mathieu Bouvier, Hervé Lesieur, Laurent Pernot) lead her to deal with light as the basis of works themselves. She worked on the light of exhibitions origanised by a group of Urban Poets, Les Saprophytes, who aims at the creation of an urban utopia. Since 2004, Annie questions through her work the tools which condition light’s form and writing. Her research relies on actual techniques (motion capture, animated pictures, personal computer and free software use) and more traditional tools such as spotlights and projector equipments. It allows her to revisit their traditional use.

Quentin Juhel

Quentin Juhel is a graphic designer interested by digitals tools and their alienating power on the user, whether the person is a designer or a fan of new techology. Graduated from a Master of la Haute école des arts du Rhin in Strasbourg, he joins the Art & Design Research Laboratory at EnsAD Paris (EnsadLab) in October 2017, in which he begins his research about the alienating power of the tools in graphic design. He questions graphic forms, practice as well as the ideology emanating from designing tools. He is interested by the production of creative tools which are non-conventional ones. More generally, he questions the social, polical and economical issues inherent to the usage of our tools.

Websites:
juhel-quentin.fr
verso-blog.fr

Lia Giraud (SACRe)

Lia Giraud is a French artist, following PhD studies in the program “Sciences, Art, Creation, Recherche” (PSL) and at the same time research student in the research program DiiP/EnsadLab, now Reflective Interaction. Her studies began at École Nationale Supérieure d’Art in Cergy-Pontoise (ENSAP). Then she specialised in photography-video at École nationale supérieure des Arts Décoratifs until her diploma in 2011. Under that time she took advantage of an exchange in Montréal, Québec at Université du Québec à Montréal (UQÀM) to perform a Master 2 of visual arts and media. Her photographic work has been published with Editions Textuels (Catalogue Sita-suez environnement, 2010), and by l’Agence française de développement (AFD) in Cambodia (Série Ambivalences, 2011). Her videos and photographies have been exhibited at many occasions in France and abroad (Jeu de Paume, Centquatre, MARTa Herford museum in Germany, “Galerie du Cedex” in Montreal, Institut français des Pays-Bas, Arte, polka magazine, etc.). In her documentaries, through video and photographic work, she questions people’s relationship to images and how this influence the way we build our reality. With the projects “riffs”, “glasses” and “dollaralia” she transforms the image-tool into the image-subject. She proposes an experience of the image as a material, she wants to show the relationship between humans and images and its evolution. Since 2010, she focuses on the influence of modern numerical representations and discovers unexplored links between biology and digital. She wants to analyse and imagine new ways of producing image based on these links. Her very special way of creating and producing science gives her opportunities to collaborate with other artists and scientific labs in Paris like the team CEE of Muséum National d’Histoire Naturelle (Algae-graphies project), the Kastler-Brossel lab at École Nationale Supérieure (documentary film InVisible), and even recently Laboratoire de chime de la matière condensée de Paris (Collège de France/UPMC) and Institut de Minéralogie et de Physique des milieux condensés (Stromatholites project).

Website: www.liagiraud.com

Raphaëlle Kerbrat

Currently an artist and student researcher at the Reflective interaction research program from EnsadLab, Raphaëlle Kerbrat graduated from Beaux-arts de Nantes in 2017. In her work, she is interested in the paradox of digital “immateriality” in relation to the hyper-materiality of the infrastructure that supports it. The artistic devices that she develops attempt to reveal “infra-ordinary” phenomena, stemming from the uses of digital technologies, by a material manipulation of their media. By confronting the information processing systems on their own condition, they reflect the paradoxical and unwavering link between digital and analog, information and matter, language and support.

Website: raphaellekerbrat.com

Lyes Hammadouche

Lyes Hammadouche was born in Algeria in 1987. He came to France in 1993 and graduated from École nationale supérieure des Arts Décoratifs Paris in 2013. Throughout his works he creates a cycle, maintains a rhythm, includes a space and tries to perceive its details. He is looking for the limit between immobility and movement. His creations are vectors aiming to stretch our punctual and fleeting awareness of time. When all the attention is focused on every passing second, when the mind enters in an almost meditative state, close to emptiness, only then we can fully experience time. Today he is a PhD student in the PSL-SACRe school, affiliated to École nationale supérieure des Arts Décoratifs. The artist Samuel Bianchini and the researcher Jerôme Sackur are the co-directors of his thesis.

Website: www.lyes.info

Florent Levillain (PhD)

Florent Levillain is a researcher in cognitive psychology, specialist of the undestanding of perceived behavior. During his thesis, he conducted research on the understanding of dynamic scenes, both at the International School for Advanced Studies (Trieste, Italy) and at Paris 8 Saint Denis University. After a postdoctoral fellowship at Johns Hopkins University, Florent has joined the Reflective Interaction research group to reflect on the understanding of robotic artifacts’ behavior. Florent is currently developing experimental methods to determine the expressive aspects of a movement, as well as theoretical models to understand ontological intuitions about animated objects. Florent is also working on the evaluation of the interaction with robotic and virtual swarms.

Website: www.florentlevillain.com

Publications (selection)

• Levillain, F., & Zibetti, E. (2017). Behavioral artifacts: The rise of the evocative machines. Journal of Human Robot Interaction, 6(1), 4-24.
• Abe, N., Laumond, J-P., & Levillain, F. (2017). Using a dance notation system to generate movements in a humanoid robot: The utility of Laban notation for robotics. Social Science Information, 56(2).
• Levillain, F., Zibetti, E., & Lefort, S. (2017). Interpretating the behavior and interacting with autonomous robotic artworks. International Journal of Social Robotics, 9(1), 141-161.
• Zibetti, E., & Levillain, F. (2016). “Off Road: Profiling the artwork and the audience experience”. In S. Bianchini & E. Quinz (Eds), Behavioral Objects 1. A Case Study: Céleste Boursier-Mougenot. Sternberg Press.
• Bianchini, S., Levillain, F., Menicacci, A., Quinz, E., & Zibetti, E. (2016). “Towards behavioral objects: A twofold approach for a system of notation to design and implement behaviors in non- anthropomorphic robotic artifacts”. In J-P. Laumond & N. Abe (Eds.), Dance Notation and Robot Motion. Springer.
• Bianchini, S., Bourganel, R., Quinz, E., Levillain, F., & Zibetti, E. (2015). “(Mis)behavioral Objects: Empowerment of users vs. empowerment of objects”. In D. Bihanic (Ed.), Empowering Users through Design. Interdisciplinary Studies and Combined Approaches for Technological Products and Services. Springer.
• Levillain, F., & Zibetti, E. (2012). Segmentation et perception intuitive dans l’interprétation de l’action. Quels liens possibles ? Proposition d’un niveau intermédiaire de représentation. L’Année Psychologique, 112(2), 277-308.

Selma Lepart

Selma Lepart is a contemporary artist, graduated from École Supérieure des Arts Décoratifs of Strasbourg. Her work is built on a multidisciplinary convergence: it involves research in the field of arts, science, sociology, science of engineering (robotics and computer) and cognitive science. She explores through her work the notions of appearance and codification of the world and relations between humans and objects / matter, thus offering the viewer a specific contract sociability model more or less concrete. We are faced with a manifestation of a sensitive intelligence, which is not there to hear our orders, but to express their own will, imposing its terms of trade.

Websites:
www.selmalepart.com
www.bipolar-production.com/bipolar/artistes/selma-lepart

Anahita Hekmat

Anahita Hekmat is an Iranian new media artist. Her body of work includes a wide range of mostly traditional media such as photography, drawings, videos and installations to new technological media such as interactive and urban setups, websites and locative media projects. She is working both solo and in collaboration with ethnologists, musicians, programmers and other specialists to create the Multidisciplinary Multimedia experiences. She hybrids ethnographic methodology and subjective imagination. Her works speak to coherent a relationship between visible and invisible. This report seeks to articulate around vision, what we see by being in direct contact with reality and the mental image that this reality has created in the mind that feeds it. Anahita uses closed spaces, found or constructed tunnels, dark rooms and hide places for making a trajectory for the spectators as a result of an in-situ experience. By using architectonic elements related to the past and destroyed (such as vestiges), she is questioning the ability of a specific space to recall and reactive the memory of the past in the present time. The world of childhood is a recurring motif in her body of work. The childhood and rites of passage function as a referential basis for universal temporal units. Thus, each viewer can find a space-time base which is both very personal and common. In her videos, Anahita works from fragments of images (filmed in general during her journeys) that create a documentary approach. By editing, time stretching, manipulating and overlaying images, she is letting forth a poetic and mythical fiction. In general, her work builds a suspended time in which the characters, abstracted of their spatial dimensions, graze the boundaries of documentary and fiction. In her installations, she confronts several screens that she puts into dialoge. This type of medium also allows images to resonate with sounds to deconstruct the Ordinary Time. She generally uses projection as reminiscence of facts which actually experienced. Sound has a great importance in her work. Sound composition is used to add spatiality. It adds the distension of time in Anahita’s closed universes — the audio layers superimposed with their corresponding images, to provide a space to explore, a memory pool.

Website: anahitahekmat.net

Aurélie Hoegy

Aurélie Hoegy is a French artist and designer. After graduating her bachelor degree in 2011 at École Supérieure d’Art et de Design in Reims, she obtained her Master’s degree in Contextual Design at the Design Academy Eindhoven in 2013 with a project exploring the Border between Normality and Abnormality in daily life. Through a hybrid approach of design, her work challenges and pushes the limit between contemporary design and art in today’s culture, drawing us out of our known universe to show how the confines of consumer utility can be critiqued and surpassed. Aurélie maintains an active collaboration with artists from different disciplines, while working across a variety of mediums including drawing, filmmaking, object design, installation, scenography and performance; all of which declaring their respective relations to design and pushing constantly the boundaries of its normality. Her research, conducted both in “the West”, U.S.A, and during her travels to “the East”, Asia, aims to create tools which can push the humdrum reality of daily life toward a more poetic absurdity. Her most recent project, the Dancers Collection and Performance, has put into practice her methodology and explored the concept of movement driven design in a wide array of situations and exhibitions. The work Dancers has received the 2015 Rado Jury Prize Paris Design Week and the first prize of the jury at the Pure Talent Contest 2016 at the IMM Cologne in Germany in January 2016. She has been invited for the DO DISTURB festival 2016 at Palais de Tokyo and at SILENCIO for the creation of OFFSET Dancers performance. Aurélie’s work was recently exhibited by Lidewij Edelkoort & Philip Fimmano in the Museum Texture during the exhibition “Wild Things” in Belgium and “The Graduate(s)” at the Carpenters Workshop Gallery in London. Since 2016, she has been contributing to the Contextual Design Master program at the Design Academy through experimental workshops.

Website: www.aureliehoegy.com

Filipe Pais (PhD)

Filipe Pais was born in Viseu, Portugal, in 1983. He was soon interested in the ways technologies affect people and their behaviors. After a degree on Sound and Image at Escola Superior de Artes e Design de Caldas da Rainha (ESAD.CR), Filipe worked as a multimedia designer at Ydreams in Lisbon and as assistant teacher at ESAD.CR where he taught digital arts. At the moment, he is a scholarship student at the University of Porto, Faculty of Engineering (FEUP) in the Digital Media PhD from the UT Austin-Portugal program and a student researcher at DRii/EnsadLab (now Reflective Interaction), in Paris. Since 2004, he has been developing new media projects, researching methods to explore routine as an augmented reality and as a source of aesthetic experience. As he uses analogous, digital or biological materials, his work has an organic and autonomous behavior and is normally based on simple rules, but it has complex and even unpredictable outputs. Lately, Felipe has been exploring web-based social networks through a behavioral perspective. Some of his works were already displayed at Jovens Criadores, Future Places, Artech, Culturgest, Mapa, Sonda, Cada, Skopje’s Biennial 09, etc.

Website: la-neige-en-ete.net/filipe/

Tom Huet

Tom Huet is a visual artist, lighting designer, scenographer.
 Graduated from EnsAD in 2012, his work covers various types of creations: sound and light installations, staging of immersive plays, kinetic sculptures, scenographies of events and theatre, sound creations. In parallel with his research at EnsadLab in the group Reflective Interaction, an interactive light axis, he collaborates with various artists and companies, and supervises “sound and light installation” educational workshops in middle and high schools. Flows, reversal, vertigo and nothingness are some of the main notions he explores. The appearance of simplicity, minimalism, are the result of an approach that implements a reflection leading to the purity of forms, passing, in everyday life, by the refusal of waste, the attempt to recover and the diversion of objects. 
The idea is to find a right form while appealing to an economy of means.

 In his works, light and sound interact and disturb the perception of space, thus making sensitive changes to it. His work around the phenomena of perception, reflection, illusion, goes beyond reason and takes place before feeling. It begins the troubled and confused beginnings of a sensation. 
Through the evocative power of these elements, he seeks to create psychoplastic spaces, in other words, spaces that can translate feelings and provide sensations, emotionally charged spaces.

Website: tomhuet.com

Tomek Jarolim

From his computing studies at the IUT (Technoligical Universtity Institute), Tomek Jarolim has preserved a strong interest for the logic of the code. He retains this work at the Art School of Aix-en-Provence, where he obtains his Master Degree in Fine Arts with high distinction in 2009. His work takes the shape of installations like Spaces of Silence and Shout! to question about the presence of the body in space, and directly return to the audience its condition of viewer. In 2008, Tomek Jarolim transposes his colorful and digital universe in the scenography of Shades of White, a piece conceived on a choreography by Bruno Péré “Les Affluents” a Ballet Preljocaj festival. The same year, he joins the School of the Art Institute of Chicago, where he mainly focuses his work on sound. As a result, he creates a piece entitled Ut Queant Laxis, of which one exerpt, “C”, is choreographed by Beth Jucoy for “Innovation in Dance” festival in New York. In 2009, he exhibits Invisibles, a generative installation on screens, at the 14th Biennial of Young Artists from Europe and the Mediterranean and “Tout Doit Apparaître”, which opens to a sensory aspect of his work. He continues exploring this facet on a version of Wagner’s Ring Saga opera, produced by Antoine Gindt, for late 2011.

Website: www.tomek.fr

Emanuele Quinz (PhD)

Emanuele Quinz is an art historian and curator, PhD, Professor at Paris 8 University and at École nationale supérieure des Arts Décoratifs (EnsAD), Paris. Among his numerous editorial projects, he edited Du corps à l’avatar (anomos, 2000), La scena digitale. Nuovi media per la danza (with A. Menicacci, Marsilio, 2001), Digital Performance (anomos, 2002), Interfaces (anomos-Hyx, 2003), MilleSuoni (with R.Paci Dalò, Cronopio 2006), Strange Design (with J.Dautrey, it: éditions:It). His research focuses on contemporary art theories and practices crossing disciplines, like visual, media and performing arts, music and design. As a free-lance curator, he curated the international exhibitions Invisibile (Siena, Palazzo delle Papesse, 2004), and with L. Marchetti, Experience Design (Bolzano, 2005), Dysfashional (Luxembourg 2007, Lausanne 2008, Paris 2009, Berlin, Moscow 2010, Jakarta 2011), Basic Instincts (Berlin, 2011, Arnhem, Shenzhen 2012).

Olivain Porry

Born in Fort-de-France in 1990, Olivain Porry graduated with a DNSEP from ESBANM in 2015. Firstly interested in painting, he developed, during his studies, a reflection which concentrates on the relationships between the individual and technologies of communication. The main part of his artistic practice is creating programs, machines and generative and participative processes. His attraction to science of communication urged him to envisage a doctorate within the EnsadLab where he works on the notion of perception in networks through the technologies of communication.

Website: olivain.fr

Ianis Lallemand (SACRe)

Ianis Lallemand is a designer, an artist, and a researcher. His work investigates the tension and convergence between code and matter, at the intersection of computation, data-driven design and digital manufacturing. A graduate of École Normale Supérieure (Paris), Ianis holds a MSc in Engineering from Université Paris 6 and a PhD in Design from École nationale supérieure des Arts Décoratifs (EnsAD) / PSL Research University. His PhD thesis, realized in the SACRe program and supervised by Antoine Picon and Samuel Bianchini, investigates the relationship between materiality and digital production practices in the fields of art, architecture and design. It was presented in December 2017 at Gaîté lyrique in Paris with a solo exhibition.

Website: www.ianislallemand.com

Oussama Mubarak (Cnam/EnsAD)

Oussama Mubarak is a new media developer and conducts a PhD research project at EnsadLab in partnership with the Cnam (the National Conservatory of Arts and Crafts, Paris) in the domains of HCI, interaction design and data visualization. Born in Jordan in 1982, he has performed Computer Science studies in the U.S. before moving to Europe in 2007. He has since worked on multiple cultural and experimental projects using emerging technologies in collaboration with artists and creative agencies. His thesis, entitled “Designing and Modeling Collective Co-located Interactions for Art Installations”, explores art installations that enable co-located interactions, focusing on the conditions – whether spacial, material, or human – which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved, and proposes a set of tools and guidelines when designing such installations.

Website: semiaddict.com

Marie-Luce Nadal

Marie-luce Nadal is an architect and a visual artist. Her research is closely related to the space flow, movement and fluidity. Attracted by the set design and the visual arts during her studies in architecture, she founds in 2004 a collective based on contemporary expression called “STARTXXI”. “STARTXXI” gave birth to different installations like “We Come In Peace”, “Ca ne Nous Rendra Pas l’Octroi”, “Qui M’aime Me Suive”. In 2006 she won the initiative grant, that allowed her to work on a fog device in the Atacama desert. She lived several years abroad and now is based in Paris. In each country she settled in, she worked with various scientific and artistic organizations such as the CEAZA and CONAF in Chile or PIMPOLHOS Rio in Brazil. In 2009, while she was at La Plata in Argentina, she graduated in Architecture and Urbanism. The project she lead was dealing with the creation of a multi-pole mode focusing on the dynamic flows and their interactions between la Plata and Buenos Aires. In 2010, she was selected to present her work at the exhibition “Mobilités” settled for the OFF of the festival “VISA pour L’Image” in Perpignan. In 2011, she joined École nationale supérieure des Arts Décoratifs in the Set Design section, where she focused her researches in the interpretation and production of synthetic landscapes. In 2012, she offered a plastic representation of Rimbaud’s “Bateau Ivre” as a pilgrimage into an evolutive climate. This performance was made with objects diverted from their regular use. In 2012, she joined the DiiP/EnsadLab (now Reflective Interaction) and the SACRe doctoral program. In 2013 she organized the first part of “Apparences du hazard”, a workshop investigating the perceptions of wind and its traces. She is currently pursuing her artistic research in the practice based PhD SACRe within DiiP (EnsadLab) and the Laboratory of Physique et Mécanique des fluides en Milieux Hétérogènes (ESPCI).

Website : www.marielucenadal.com

Diego Ortiz

Diego Ortiz is a Franco-Colombian artist born in Cali, Colombia in 1980. He works and lives in Marseilles. His work questions the relationships between reality and fiction by creating interactive “dispositifs” and audiovisual experiments using mainly mobile technologies. He thus explores relational contexts that disrupts the place and role of the spectator in the process of artistic creation and dissemination. He presented his work, among others, at Cinema Alhambra and La Belle de Mai in Marseilles, the DRAC Rhône Alpes, Festival “Empreintes Numériques” in Toulouse and abroad (Spain, Sweden). Through his artistic work, he is interested in the development of creative and cultural industries (CCI) and reflects on how artworks can be part of a performance space suitable for a sustainable economy. With artist Javiera Tejerina – Risso, he also runs Flux(o), an interdisciplinary research lab which brings together artists, programmers, scientists around the testing and implementation of experiments involving the arts, new media and scientific research. He is currently an associated artist with ZINC and participates in the research program DiiP/EnsadLab (now Reflective Interaction).

Websites:
www.discrepances.com
www.fluxo.fr

Dominique Peysson

Dominique Peysson lives and works in Paris. She’s a plastic artist, after being a scientist. She began her professional career as a lecturer in physics for three years, after doing a post-doc at Cambridge University (England) and a thesis at ESPCI. She has worked on the properties of polymer materials with a liquid crystal nature. She then became a self-taught illustrator and published numerous illustrations in newspapers or books, and created or illustrated a dozen children’s books. She then returned to university training and followed the L3, M1, M2 courses at Paris 8 (Saint Denis) in contemporary art and new media (with honors). She is currently a visual artist and has just joined EnsadLab’s DRii program, now Reflective Interaction, at École nationale supérieure des Arts Décoratifs, where she aims to make the link between physics laboratories and contemporary art research. In October 2011, she began a doctoral thesis at Paris 1 Sorbonne directed by Olga Kisseleva: “Aesthetic experience, physical experience: new materials in the test of interactivity”. She has been teaching since 2012 at École Nationale des Ponts et Chaussées (ENPC) with the teaching team of the course “Arts, sciences, Technologies, Society: Practices of Scientific Mediation”. She has organized Art/Science events. She has been giving art classes to children and adults in the cultural centres of Rueil-Malmaison since 2005.

Website: dominiquepeysson.net

Bertrand Sandrez

Bertrand Sandrez is a graphic designer trained at École Supérieure d’Art des Pyrénées de Pau. In 2011, he joins EnsadLab, the research laboratory of École Nationale Supérieure des Arts Décoratifs, in Paris, to pursue a post-graduate degree for three years. At the time, he worked for the Écrans Mobiles et Récits Interactifs group led by Jean-Louis Boissier and Dominique Cunin, and for the Reflective Interaction group led by Samuel Bianchini. His approach consisted in the creation of new forms of narratives and relied on the mobility consciousness of mobile screens. Today, he is devoted to his work as a graphic designer. At the same time, he continues his research in workshops in secondary schools or high schools such as Fondation 93 in Montreuil.

Alexandre Saunier

Alexandre Saunier lives and works in Paris. After graduating from ENS Louis Lumière as a sound engineer, he joined EnsadLab in the laboratories EMeRI in 2012 and DiiP (now Reflective Interaction) in 2013. Thanks to his knowledge in various fields of sound engineering and interactive systems, his work is encompassed by a common practice of physical computing. Among other titles, he is a technicien at Digitalarti’s Artlab and frequently assists local and international installation artists such as Zimoun and Antonin Fourneau. His work associates both computer and physical systems in order to put into question our perception of digital machines, to find a sensible link with abstract processes.

Website: www.alexandresaunier.com

Marcos Serrano

Born in Madrid, Marcos Serrano lives and works in Paris. Doctor in human-machine interaction and interaction designer, Marcos has long been interested in the frontier between science, art and design. After training in computer science at the Polytechnic University of Madrid (UPM) and at École Nationale Supérieure d’Informatique de Grenoble (ENSIMAG), Marcos chose to focus on human-machine interaction, a multidisciplinary field that allows him to take a different look at the digital world. He then joined the IIHM research team at the Grenoble Computer Science Laboratory, where he completed his doctorate and participated in various research projects. Among others, Marcos is responsible for a working group (workpackage) within the European research project OpenInterface, dedicated to multimodal interaction. His thesis work in human-machine interaction focuses on conceptual and software methods for prototyping multimodal interfaces, interfaces involving several modes of interaction, such as speech, gesture or touch. In 2008, he joined the DRii program of le Cycle supérieur de recherche & création (now Reflective Interaction) of École nationale supérieure des Arts Décoratifs (EnsadLab) to continue his research on the design of interactive devices.

Website: www.marcanudo.com

Paul Souviron

Paul Souviron was born in 1979 in Oloron St-Marie. After several years in the domain of electrotechnics, he joins ESAD (École Supérieure des Arts Décoratifs of Strasbourg) in 2003, and gets his DNAP (Degree in Fine Arts) with high distinction in 2006. He spends his fourth year at UQÀM, in Montreal, where he integrates the robotics and active system atelier. He obtains his DNSEP (Master Degree in Fine Arts) at ESAD in 2008. In Septembre 2008, he participates to a residence at La Laiterie, in Strasbourg, for the construction and the production of an active sound installation, Assault v2.0, presented during Osophère 2008 Festival. In 2008-2009, he is a searcher-student at the Research Program of École nationale supérieure des Arts Décoratifs (EnsadLab).

Website: paulsouviron.net

Benoît Verjat

Benoît Verjat is a graphic designer and interactive designer. A graduate of École Supérieure des Arts Décoratifs in Strasbourg, he now combines, in the field of new media, real professional expertise and a forward-looking commitment in the field of research. For more than five years, he has been designing and producing numerous multimedia projects in the cultural field (la Gaîté lyrique, le cneai=, le cnap, le centre d’art de la Villa Arson, Joris Mathieu) on a personal basis or for various workshops (Atelier Pierre di Sciullo, studio géneral toffe). Strengthened by the openness that this professional investment has allowed him, but eager to question in greater depth the means, methods and forms, Benoît has also been engaged for a few years in research that he is testing in several settings. For this reason, he joined EnsadLab’s DiiP program (now Reflective Interaction) to confront advanced interactive devices and in particular gesture capture in its relationship to image and data representation. Wishing to share this approach as well practical as reflexive, he intervenes at École nationale supérieure d’art de Nancy in order to submit new logics of graphic production and to initiate projects putting into practice the new visual states it generates. In this same dynamic, he integrated the founding team of the school pointvue which, with light forms, initiates to the production and the audiovisual edition in network. In conjunction with the development and sharing of his research, Benoît joined the interactive designers collective g-u-i in 2011, which combines commissioned work and research.

Website: benoit.verjat.com

Hsinli Wang

Hsinli Wang is an artist based in Paris, she acquired her superior fine arts diploma from École des Beaux-arts de Paris (ENSBA). Her artistic approach is bound to the perception and experience of the nature, emotions and feelings, constantly she travels with a nomadic way on the edge of reality and reverie. Her works are composed of varied elements, such as photography, videos and objects, mixed with visible and invisible relations. After the artist residency in Villa Arson de Nice, she joined DiiP (now Reflective Interaction) in 2011, the research program of EnsadLab (laboratory of École nationale supérieure des Arts Décoratifs, Paris). Focusing on the organic materials which provoke physical phenomena, she intends to juxtapose these supplies of fragments, thus conceive interactive installations (“dispositif”) to represent the air of mystery within an artistic and sensorial perspective. Her work “Steam (La Buée)” achieves to a depth of field which appears less as figurative effects than as enigmatic traces. Moreover, she regularly publishes articles in a Chinese art magazine in Taiwan to keep awareness of the european art stage to chinese public, and in a further term of her artistic position in between Europe and Taiwan, she would like to present a curatorial project dedicated to contemporary art between these two territories.

Website: www.hsinliwang.com

Hernan Zambrano

Graduate of Bellas Artes in Cali (Colombia), Hernan Zambrano obtains in 2011 his DNSEP (Master 2) at ENSA-Bourges (National art school). During these years, he is influenced by the work of the 60’s kinetic artists as well as by the crossing between art and sciences and create his first interactive installations. Through this mean, he explores physical and optical phenomena and gives to spectator the possibility of interacting with its entire works. Between 2011 and 2013, he pursues his studies in Bourges at CEPIA (Centre d’Étude au Partenariat et l’Intervention Artistique) and also at conservatory in Electroacoustic Music and Sound Art. In 2012, he manages an artistic intervention with and for young autistic at the medical reception center Le Châtaignier. This experience marked for him a starting point to explore new methods by which we could transform the way we perceive the world while trying to improve our understanding of what is “real” and of what hides behind our senses. From 2013, he joins l’EnsAD in the research program SAIL (science et arts des interactions lumière-matière-couleur) at EnsadLab. During these last two years of research, he explores light’s properties, the sensory perception and color’s psychometric aspects. He experiments with materials such as glass, pigments, filters, light sources and various sorts of reflecting materials. He also works in association with artists, designers, scientists and creative craftsmen for projects of collective creation but also in his research project “Sculpting the Light”. In September, 2015, he joins the research group Reflective Interaction at EnsadLab, topic Interactive Light. Since 2014, he also works in association with the sound artist Daiana Romero. Their project leans on composition of sounds recorded during meetings with native populations at the heart of the Amazonian forest, which they transpose then in sound and visual spaces by means of immersion devices in sound and in light.

Website: www.hernanzambrano.com