Arthur Enguehard

Arthur Enguehard grew up in Nantes and currently works in Paris (France). He studied Earth Sciences at the Geosciences Department of École normale supérieure – PSL (ENS – PSL) and Sorbonnes University. On the side of his academic career, he engages as educator with specialized audiences in metropolitan France and French Guiana. In 2019, he co-founded the association «PePaSon: Pedagogies des Paysages Sonores» encouraging the development of a french speaking network for sharing practices around sound walks and forms of mediation of listening. He is currently developing a PhD in the SACRe doctoral program at PSL University, in the framework of the Reflective Interaction Research Group of EnsadLab and of the ENS Geosciences Department, a PhD research entitled: «Listening to the (E)arth: Hybriding sonic arts and geosciences in knowledge production and sensitization toward the environment».

Web Site:

Guillemette Legrand

Guillemette Legrand uses the practice of machine-fictioning to explore the (im)materiality of emerging information technologies and their capacity to form contexts enabling the naturalisation of specific belief systems. Their work can be described as an artistic mobilisation of algorithmic knowledge and its infrastructure, where their goal is to re-imagine their potentialities and frictions through fostering embodied and situated environments (both physical and virtual) to engage with a public.
The work often takes the shape of multimedia installations, game-environments and experimental presentations, which have been exhibited at the V&A (London, UK), V2_ Lab for the Unstable Media (Rotterdam, NL), the 4th Istanbul Biennale (Istanbul, TR), LUMA (Arles, FR), Design Museum (London, UK), among other international locations.
In 2020, they initiated a transdisciplinary research project Spectral Plain that seeks to readjust the relationship between scientific knowledge and the modelling of the Earth in the production of world-imaginaries.
They are now PhD candidate at SACRe-PSL within the Reflective Interaction Group of EnsadLab. Her PhD project Climate Cosmograms examines the cosmological dimension of climate images, inquiring how they become more-than scientific representations that also portray political and socio-cultural imaginaries of the Earth. The project researches the visual literacies of design and technological systems through a critical examination of current climate-imaging practices, in order to propose other possible forms of climate visuality and imaginaries. This practice-based research starts with the proposal that current climate images are not neutral representations but act as visual proxies of a complex, autonomous, and speculative modelling system that mediate, hierarchise, and politicise climate data. Climate images used within the Intergovernmental Panel on Climate Change reports are produced to inform climate governance, which the project argues, construct imaginaries that reframe people’s political and socio-cultural relationship to the earth. Through examining this reframing, this project proposes to study the tacit role of design and its AI-aided automation by looking at three different realities of the earth that coexist in the imaging of climate; the sensing of the earth biochemical substrate; its computational modelling; and finally the visualisation of this data. Climate cosmograms ask what are the visual practices of climate images? How do they construct and disseminate cosmological imaginary(ies)? And how can creative practices help to critically mobilise current climate-imaging operations to propose other mediums to simulate the climate and its imaginaries? The hypothesis of the project is that by using the medium of cosmograms–a cultural incarnation of the earth–as a research lens, I will be able to document, counter, enrich, and diversify climate visuality and imaginaries. The project proposes to research the design and geo-computational practices of modelling the earth through participatory and practice-based design methods.

Web Site:

Brice Ammar-Khodja

Brice Ammar-Khodja is an artist, graphic designer, and Ph.D student based in Montreal, Paris, and Strasbourg. He holds a Graphic Design Master Degree from Haute École des Arts du Rhin. His work arises where digital arts, data design, material science, and sensory studies meet. He is currently pursuing a thesis jointly supervised by Concordia University – Montreal (Individualized Program) and EnsAD, EnsadLab – Paris (Reflective Interaction research group, SACRe program).

He combines responsive materials, video, and soft robotics to explore the symbolic, spatial, sensory, and socio-environmental interconnections pertaining to materiality and visual information. To this end, he contextualizes his research-creation in the frame of “resilient cities”. Thus, he seeks to experiment with the interactive potential of matter to increase the sensitive representations and perceptions of data linked with the public environments’ quality (air quality, temperature, and noise pollution) to enhance the aesthetic relationships between the citizens and their milieu.

Brice Ammar-Khodja is affiliated with EnsadLab (Paris) in the Reflective Interaction research group (dir. Samuel Bianchini) and with Concordia University (Montreal) in the Speculative Life Biolab (dir. Alice Jarry), the Centre for Sensory Studies (dir. David Howes) and the Concordia’s Canada Excellence Research Chair in Smart, Sustainable and Resilient Communities and Cities (dir. Ursula Eicker). Brice is a current member of the international research-creation network Hexagram.

Co-director of the typography magazine Pied de Mouche, Brice Ammar-Khodja is also involved in creating workshops and educational tools for the general public.

His works have been exhibited at Centre Pompidou, Biennale internationale du Design, la Cité internationale des Arts, V2_Institute for Unstable Media, Musée historique de la Ville de Strasbourg, and Modulab.


Julie Blanc

Julie Blanc is a graphic designer and student researcher. She is preparing a PhD in ergonomics and design at the C3U team (Laboratoire Paragraphe, University Paris 8) and EnsadLab under the direction of Anne Bationo Tillon and the co-direction of Samuel Bianchini. This doctorate is part of the ArTeC university research school (Art, Technologies and Creation).

At EnsadLab, Julie works for the Experimental Publicization axis of the Reflective Interaction research program. Her work and research mainly focuses on the design of multi-media editorial objects, both digital and print. Her main study is on the recent shift from desktop publishing software to the use of web development technologies and methods (HTML5, CSS3, javascript, epub) in editorial chains and particularly in design practices. She also works on the implications of automated typesetting on graphic design.

Julie is part of the collective research of the PrePostPrint and works on the development paged.js, a free and open source Javascript library to make book in browsers.


Samuel Bianchini (PhD – HDR)

Head of the Research Group “Reflective Interaction”

Samuel Bianchini is an artist and associate professor (accreditated to supervise research) at École nationale supérieure des Arts Décoratifs (EnsAD, PSL University, Paris).

His creations involve physical as well as symbolic operations, in context, in public and in real time, stimulating us to contemplate, to think as much as to act. Supporting the principle of an “operational aesthetic”, Samuel Bianchini works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, sociopolitical organizations and connection with the environment. To this end, he collaborates with scientists and engineering research laboratories: Limsi-CNRS (Computer Science Laboratory for Mechanics and Engineering Sciences, Orsay), Orange Labs, CEA (French Alternative Energies and Atomic Energy Commission, Saclay), ISIR (Institute for Intelligent Systems and Robotics, Sorbonne Université-CNRS), etc.

He lives and works in Paris. With more than 100 collective and 20 solo exhibitions, his works are regularly presented in Europe and around the world: Jeu de Paume (Paris), Zürcher Gallery (New York), Centre Georges Pompidou (Paris), Wood Street Galleries (Pittsburgh), Institut français de Tokyo, Stuk Art Center (Leuven), Nuit Blanche (Toronto), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Waterfall Gallery (New York), Art Basel, Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), FIAC (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Rencontres Chorégraphiques de Carthage, Centre pour l’image contemporaine (Geneva), Biennale de Rennes, La Ménagerie de verre (Paris), space_imA and Duck-Won Gallery (Seoul), Nuit Blanche (Paris), Museum of Contemporary Art Ateneo of Yucatán Museo de Arte Contemporáneo Ateneo de Yucatán (Mexico), Cité des sciences et de l’industrie (Paris), Zentrum für Kunst und Medientechnologie (ZKM, Karlsruhe), Musée d’art moderne de la Ville de Paris, La Villa Arson (Nice), etc.

In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to numerous publications. He hase given more than 200 lectures across the world and published over 70 texts with publishers such as Editions du Centre Pompidou, Editions Jean-Michel Place, MIT Press, Analogues, Burozoïque, Hermes, Les presses du réel, Springer, etc. As an author, director or co-director, he edited 7 books including the collective reference book Practicable. From Participation to Interaction in Contemporary Art, MIT Press, 2016 (co-directed with Erik Verhagen); the collective book Behavioral Objects 1 – A Case Study: Céleste Boursier Mougenot, Sternberg Press, 2016 (co-directed with Emanuele Quinz and distributed by MIT Press); and, À Distances – Œuvrer dans les espaces publics, Les presses du réel, 2017 (with Mari Linnman).

Born in 1971 in Nancy, he studied art through different approaches: Fine Arts (Post diploma, Ecole régionale des Beaux-arts de Nantes), Decorative Arts (EnsAD, École nationale supérieure des Arts Décoratifs, Paris), Art & Design (Central Saint Martins College of Art and Design, London), Applied Arts (Ensaama, École nationale supérieure des arts appliqués et des métiers d’art, Paris), Arts and Crafts (Conservatoire des arts et métiers, Paris) and Plastic Arts (Université Paris 1 – Panthéon-Sorbonne).

He defended his PhD thesis at Palais de Tokyo with a solo exhibition and, more recently, his accreditation to supervise research (HDR) at the crossroads of artistic, technological and political issues, entitled Dispositifs artistiques, dispositifs politiques. Une esthétique opérationnelle comme faculté de mobilisation individuelle et collective [Artistic dispositif, political dispositif. Operational aesthetics as a faculty of individual and collective mobilization]. He is now teacher-researcher at École nationale supérieure des Arts Décoratifs (EnsAD) – PSL University, where he is the head the Reflective Interaction group of EnsadLab (EnsAD’s laboratory) on research on interactive “dispositifs”. Here, he is also co-head of la Chaire arts & sciences set up in 2017 with École polytechnique and the Daniel & Nina Carasso Foundation. He is a member of SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervises PhD in art and design. He is also member of the canadian research-creation network Hexagram and associate member of the Cluster of excellence Matters of Activity, Humboldt Universität zu Berlin.


Publications (selection)

• Research Gate:
• Academia:

Practicable. From Participation to Interaction in Contemporary Art, Ed. MIT Press, Cambridge / London, 2016:
Behavioral Objects, Ed. Sternberg Press, Berlin / New York, 2016:
Audience Works, Ed. mfc-michèle didier, Brussels, 2013:
Simulation technologique & matérialisation artistique – Une exploration transdisciplinaire Arts / Sciences, Ed. L’Harmattan, Paris, 2011:
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:
Joseph Beuys – Films et vidéos, Ed. Centre Pompidou, Paris, 1994:

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.).


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.


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.


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.


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).


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 ( 2015, 2016), ( 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.


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.

Silvia Dore

Silvia Dore is a graphic designer and co-founder of the graphic agency Stereo Buro, teacher and student researcher on the emerging practices of participatory processes in graphic design. Currently research master’s student at the University of Strasbourg, she is starting the pre-doctoral year at EnsadLab in the “Reflective Interaction” group. She is a AFD member since 2019 for public procurement ethics, she co-organizes the exhibition “Common point” with Romain Diant.


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.


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.


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 She is a founding member of the collective

Publications (selection)

• Lucile Haute, “Que dansent sorcières et designers à travers les strates d’instanciation de la recherche.”, in Magazine Azimuts #51 Formation, Cité du Design de Saint-Étienne, 2020.
• Lucile Haute, “Performances contemporaines : actualisations d’un devenir cyborg”, in Sylvie Bauer &alt., Subjectivités numériques et Posthumain, Rennes, PUR, 2020, p.187-200.
• Lucile Haute, “Livres mécaniques et chimères numériques”, in Magazine Back Office #3 Écrire l’écran, Paris, B42, 2019, p. 72-83.
• Renée Bourassa, Lucile Haute, Gilles Rouffineau (dir.) Magazine Sciences du Design #08 Éditions numériques, Paris, Puf, 2018.
• Lucile Haute and Julie Blanc, “Publier la recherche en design : (hors-)normes, (contre-)formats, (anti-)standards”, in Magazine Réel Virtuel #6 : Les normes du numérique, 2018.
• Lucile Haute and Julie Blanc “Standards du web et publication académique” in CodeX n°1, Paris, HYX edition, 2017, pp. 14-15.
• Lucile Haute, “Chapitre V – Design des catalogues d’exposition sur supports numériques. Études de cas.” and “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.109-123 and pp 139-149.
• 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, edition, 2015.


Director of the liteʁal collection by Art Book Magazine (Paris).
From Bits to Paper, Filipe Pais (dir.), collective, printed by 24x32cm + ePub, 196 pages, 2018, language: English.
La création en actes, enquête autour d’une exposition de Pierre di Sciullo, Francesca Cozzolino (dir.), collective, ePub, 2020, language: French.
Editorial director of the Magazine Hybrid dedicated to arts and human mediations (PUV).

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.


Rahma Khazam (PhD)

After studying philosophy at the University of Edinburgh and art history at the Sorbonne, Rahma Khazam obtained her Ph.D in Aesthetics from Paris I Panthéon-Sorbonne University. Her research spans contemporary aesthetics as well as the new philosophical movements such as speculative realism and new materialism. She has been collaborating on the “Behavioral Objects” research projet (with EnsadLab et l’EUR ArTec) since 2016, exploring in particular the philosophical aspects of the behavioral objects, their agency, nonanthropomorphism and nonanthropocentrism, and their relevance to such notions as posthuman and subject/object.  Rahma participates regularly in international conferences, such as “Deleuze + Art: Multiplicities, Thresholds, Potentialities” (Trinity College, Dublin, 2016),  Nonhuman Agents” (Art Laboratory, Berlin, 2017), L’écho du réel” (Paris, 2019), “RE:SOUND – 8th International Conference on the Histories of Media Art, Science and Technology 2019”(Aalborg University, Denmark, 2019), “Hacking the Computable” (HMDK Stuttgart, 2020), Cultural Logic of Environmentalization (Leuphana Universität, 2020 and 2021). She is affiliated to Institut ACTE Paris 1, and a member of AICA (Association internationale des critiques d’art) and  DGA ( HYPERLINK “”Deutsche Gesellschaft für Ästhetik). 

Publications (selection) : 
• « Distant Affinities : Speculative Realism and the Philosophy of Gilles Deleuze », Lithuanian Journal of Philosophy, Volume 18, no. 4, 2016
• « From the Object to the Hyperobject : Art After the New Art History », in Newest Art History: Wohin geht die jüngste Kunstgeschichte?, Verband österreichischer Kunsthistorikerinnen und Kunsthistoriker (dir.), 2017
Une poétique pragmatiste : Considérations sur l’œuvre de Franck Leibovici, Rahma Khazam (dir.), Dijon: Les presses du réel, 2018
• « Art, Science and the Mutant Object », in Post-Specimen Encounters Between Art, Science and Curating, Bristol : Intellect, 2020
• « Son et Image : Face au Réel », in L’écho du réel, Paris: Editions Mimésis, 2021 
• « Clement Greenberg’s Modernism: Historicizable or Ahistorical? » in Historical Modernisms, London : Bloomsbury, 2021
• « Ikonische und spekulative Wende : Von Visualität zu Realität », inNach der ikonischen Wende. Aktualität und Geschichte eines Paradigmas, Berlin: Kadmos, 2021 

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.


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.

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).


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.


Corentin Loubet

Graduated of a master’s degree in object and space design in 2020 at the ESAD of Reims, Corentin was first interested in the user affection towards objects, and more precisely how intelligent objects can stimulate particular emotional reactions to the user.

In 2021, he joined the PhD training year of EnsadLab within the Reflective Interaction research group. He gradually focused his interest on the notion of Curiosity as a metaphor for the data collect process realised by intelligent assistants. Starting from the observation that this hidden and sometimes intrusive process leads to an ambient distrust of these devices, he proposes to question about the way of which an object design and an object behavior design could reveals this process to clarify the relationship between these virtual assistants and the user.

Next to his PhD training, Corentin co-founded the Bureau Commun design studio, where he and others designers are interested in the impact of digital technology on society.

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.


Florent Levillain (PhD)

Florent Levillain is a researcher in cognitive psychology, specialist of the undestanding of perceived behavior. He is currently a university lecturer at the University of Technology of Compiègne (UTC), in the COSTECH laboratory, in the Technology and Human Sciences department. 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.


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.
• Levillain, F., St-Onge, D., Zibetti, E., & Beltrame, G. (2018). More Than the Sum of its Parts: Assessing the Coherence and Expressivity of a Robotic Swarm. 2018 27th IEEE International Symposium on Robot and Human Interactive Communication (RO-MAN), 583–588.

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.


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.


Filipe Pais (PhD)

Filipe Pais is a lecturer, researcher, curator and artist living between London and Paris.

Filipe has been particularly interested by the ways contemporary art and design movements inquire technological agendas, dealing with issues such as transparency, blackboxing, behavior, play, dematerialization, flow, immersion, algorithmic governance, ecology and life after google.

At the moment, he is a research associate at the Reflective Interaction group from EnsadLab (the laboratory of EnsAD – Ecole Nationale Supérieure des Arts Décoratifs, Paris) and he teaches in the fields of art, design and games at Noroff University in Norway, Paris 1 Panthéon-Sorbonne University, Parsons New School in Paris and Sciences Po in Reims.

During his doctoral research entitled Experience and Meaning-making Process in Interactive Arts – The influence of play and aesthetic distance in interactive art encounters (UT Austin Portugal, FEUP, University of Porto), Filipe was interested by the aesthetics of play in art experience. After this, he worked as a post-doctoral researcher in the project The Behavior of Things (EnsadLab and University Paris 8) exploring the notion of behavior in objects. He was also a student of SPEAP, a Master of Arts and Politics conducted by Bruno Latour and Valérie Pihet at Sciences Po, Paris.

In the last years he curated the exhibitions Playmode (Maat, Lisbon, 2019), From Bits to Paper (Le Shadok, Strasbourg, 2016) and Re-enter Lisbon (CPAI, Lisbon, 2012). His artworks have been featured in several art festivals and events in Portugal and abroad.



• Pais, F. (2018). From Bits to Paper, Art Book Magazine, Paris.

• Pais, F. (2018). Le Retour des Objets, Quasi Objets et Super-objets. éd. Fondation Calouste Gulbenkian — Délégation en France, Paris, 2018.

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.


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.


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.


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.


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.


Jonathan Pêpe

Jonathan Pêpe (born in Toulouse, 1987), studied at the National School of Art in Bourges then at Fresnoy, the National Studio of Contemporary Arts. His constantly changing plastic research can materialize in the form of drawings, films, videos, interactive digital and robotic installations. He exhibited in particular at the Villa Vassilief, the Salon du dessin, the Pair2 art center (Taiwan), the Palais de Tokyo, the EDF Foundation and the French Institute in Budapest.

Anna Schaeffner

Anna Schaeffner, is an interaction designer and researcher. After studying product design in France she graduated with a Bachelor’s degree (2018) and a Master’s degree (2021) in interaction design, at the Kunsthochschule Weissensee in Berlin where she lives since 2015. Her various professional experiences abroad; in San Francisco or Copenhagen, helped her refine her design practice, around the development of new forms of hybrid interactions, which mix new technologies and societal and environmental concerns.Today she collaborates on many projects with a Berlin-based design studio, and in parallel Anna is enrolled in a pre-doctoral year at EnsadLab, in the reflective interaction group.Her research focuses on softrobotics, and the design of deformation, as a vector of motion, as a capacity for dynamic material adaptation and expressiveness. Through the practice of design, she explores the deformation to tend to other forms of interface between robotic objects and their environments. 


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.


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 :

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).


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.


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.


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.


Céline Shen

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Céline Shen is a French artist and designer. Educated in Paris, she studied Philosophy at the Sorbonne University. Her passion for fashion and dance led her to train as a clothing designer at the Ecole Nationale des Arts Décoratifs in Paris and at the same time study Choreography at the Académie Royale des Beaux-Arts in Brussels. Her collection is inspired by garment’s aura and the couture artisanal techniques acquired after taking her first steps within the house of Alaia. In between art and fashion, her creations are at the crossroads of several disciplines: surveillance digital arts, photography, performance, installation, video and choreography.

She is taking part at the pre-doctoral year at EnsadLab in the “reflective interaction” group.

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).


Lauren Tortil

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Lauren Tortil is an artist and researcher, her approach takes many forms—publications, installations, videos, performances and workshops—that question the process of listening and the semiotic of sound, in relation to power. After studying Fine Art at HEAR in Strasbourg where she graduated in 2010, Lauren continued one year at the Bezalel Academy of Arts and Design, in Israel and Palestine. Back in France in 2011, she studied Space Design at ENSBA Lyon and obtained in 2013 my master degree (DNSEP with the honors of the jury). Her work has been shown in several cultural institutions in France such as the Center Pompidou, the Fondation Louis Vuitton, the Salon de Montrouge, and recently at La Villa du Parc; and abroad at the Sound Gallery (CZ) and during the 11th Biennal of Architecture of Sao Paulo (BR). In addition, she is the laureate of several residencies among which: Factatory in Lyon (2018), Villa Belleville in Paris (2017-2018), Cité Internationale des Arts in Paris (2017), Générator in Rennes (2016) and Triangle France in Marseille (2014).

The publication of her book Une généalogie des grandes oreilles in 2019 (winner of the 5th edition of the ADAGP Revelation Artist’s Book Award 2020), lead to a cycle of three personal exhibitions and a series of performances called Lecture affective, in 2020.


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.


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.


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.


Hugo Scurto (PhD)

Hugo Scurto (1993, Marseille, Fr) is a researcher, musician, and designer. His research employs art, design, and science approaches to inquire, develop, and study machine learning technology within an ecology of music. His practice consists in creating interactive sound and music dispositifs in which machine learning seeks to reveal and reconfigure the entanglement of individuals and their material environments. Hugo is currently postdoctoral researcher at EnsadLab, and co-founding member of wolfgang, a Paris-based music design collective. Before this, he completed a doctoral thesis in Machine Learning and Music Interaction at IRCAM (2016-2019), and was visiting researcher at Department of Computing, Goldsmiths University of London (2015-2016). He graduated in Physics from Ecole Normale Supérieure Paris-Saclay (2011-2016), received the MSc in Engineering from Sorbonne Université (2015), and trained in Popular Music at Cité de la Musique de Marseille (2005-2011). With the support of a diversity of people, Hugo has publicized works and co-organised workshops in international conferences and academic reviews such as NIME, SIGGRAPH, or PLOS One, as well as in cultural places such as Friche la Belle de Mai, Le Cube, or Lutherie Urbaine.

Twitter: @hugoscurto

Francesco Sebregondi (PhD)

Francesco Sebregondi is an architect and a researcher, whose work explores the intersections of violence, technology, and the urban condition. Since 2011, he is a Researcher and Project Coordinator at the independent research agency Forensic Architecture, as well as the co-editor of its first collective publication Forensis: The Architecture of Public Truth (Sternberg Press, 2014). In 2020 he completed his PhD at the Centre for Research Architecture, Goldsmiths University of London, where his research examined the architecture of the Gaza blockade. In 2017, he was a participant in The New Normal speculative design programme at Strelka Institute in Moscow. Since 2017, he is also a Research Fellow at UCL’s Centre for Blockchain Technology. Francesco’s writings have been published in journals such as the Architectural Review, Volume, Footprint, the Avery Review, or City, as well as in a number of edited volumes. He teaches design at Parsons Paris and the School of Architecture, Royal College of Art in London, where he is guest-curating the 2019/20 International Lecture Series. He has been invited to deliver talks and workshops in many international venues, and his work with Forensic Architecture has been widely exhibited worldwide. In 2019, in collaboration with queer theorist Jasbir K. Puar, he developed a major exhibition project titled “Future Lives of Return” for the inaugural edition of the  Sharjah Architecture Triennial. He lives and works between Paris and London.