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

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

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).

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

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.

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.

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/

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).