<\/p>\n
\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 15\/10\/2023<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Sciences du Design<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tCoordinateurs de ce num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tsdd_design_medium@proton.me<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nSciences du Design<\/em> lance un appel \u00e0 articles sur le th\u00e8me \u00ab Design & m\u00e9dium(s) \u00bb pour son num\u00e9ro 19 \u00e0 para\u00eetre au printemps 2024, sous la direction de Estelle Chaillat (ENS Paris Saclay, T\u00e9l\u00e9com Paris), Ambre Charpier (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), Anitra Lourie (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), C\u00e9line Monvoisin (UQAM, Montr\u00e9al), Justine P\u00e9neau (Montpellier) et Dorian Reunkrilerk (Minist\u00e8re de l\u2019\u00c9ducation nationale et de la jeunesse, Paris).<\/p>\nCe num\u00e9ro th\u00e9matique s\u2019int\u00e9resse \u00e0 la relation intrins\u00e8que entre les pratiques de design et les m\u00e9diums qu\u2019elles accueillent, combinent et produisent, et qui r\u00e9ciproquement, m\u00e9nagent certains espaces de conception.<\/p>\nObservation et appareil th\u00e9orique<\/h2>\nLes marqueurs et post-it du co-design, le corps du.de la designer qui essaie un prototype, les calques de l\u2019architecte qui se superposent sous l\u2019effet du crit\u00e9rium, les textures d\u2019une laine ennoblie du.de la textilien.ne, l\u2019\u00e9cran s\u00e9rigraphique ou num\u00e9rique du.de la graphiste, les indices contextuels d\u00e9chiffr\u00e9s par\u00a0le.la paysagiste\u2026 Autant d\u2019exemples qui illustrent la polymorphie du vocable \u00ab m\u00e9dium \u00bb et sugg\u00e8rent l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des approches th\u00e9oriques et m\u00e9thodologiques qui tentent de le circonscrire (Kramer, 2015). \u00c0 la fois environnement perceptif (Benjamin, 1968), milieu sensible (Locke, 1735), appareil d\u2019enregistrement technique et culturel (Kittler, 1986), ressource s\u00e9miotique (Bezemer & Kress, 2015), cadre de l\u2019interaction (Latour, 1994) ou espace po\u00e9tique de repr\u00e9sentation (Gent\u00e8s, 2017), ces perspectives divergentes insistent pourtant toutes sur les natures et modalit\u00e9s multiples du m\u00e9dium mais aussi sur son r\u00f4le transformatif de nos exp\u00e9riences et des repr\u00e9sentations sensibles du monde.<\/p>\nIl serait h\u00e2tif de penser la r\u00e9ciprocit\u00e9 relationnelle entre le.la praticien.ne, l\u2019acte de design et le m\u00e9dium comme un simple effet miroir. On retiendra que le pr\u00e9fixe re- <\/em>de la r\u00e9ciprocit\u00e9 appelle autant le contraire, l\u2019it\u00e9ration que l\u2019augmentation. En cela, la r\u00e9ciprocit\u00e9 se nourrit de la puissance de chaque partie dans un \u00e9change fait de surprises et d\u2019affects mutuels, de manipulations et de ma\u00eetrises progressives dans une vis\u00e9e de d\u00e9passement et\/ou d\u2019\u00e9puisement projectif.<\/p>\nCet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\nApproche et cadrage<\/h2>\nNous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\nNous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\nFormats et pistes<\/h2>\nAfin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n\nDialoguer<\/em> : En quoi le concept m\u00e9dium peut-il favoriser une pratique dialoguant n\u00e9cessairement avec un contexte donn\u00e9, et plus encore participer \u00e0 d\u00e9velopper des contextes favorables aux pratiques du design ?<\/li>\n<\/ul>\n\nG\u00e9n\u00e9rer<\/em> : Comment cette perspective m\u00e9diatique du design permet-elle de reconsid\u00e9rer tant l\u2019activit\u00e9 de conception que la r\u00e9ception des artefacts produits, en faisant notamment de tout \u00e9l\u00e9ment mat\u00e9riel l\u2019amorce d\u2019un rapport inventif au monde ?<\/li>\n<\/ul>\n\nEnrichir<\/em> : Comment la notion de mat\u00e9rialit\u00e9, d\u00e9velopp\u00e9e dans le champ du design depuis les ann\u00e9es 1980 peut-elle \u00eatre enrichie par la prise en compte des dimensions sociales, culturelles et politiques associ\u00e9es aux m\u00e9diums ?<\/li>\n<\/ul>\n\nMod\u00e9liser<\/em> : Quels mod\u00e8les analytiques peuvent-ils \u00e9merger d\u2019une lecture centr\u00e9e sur le concept de \u201cm\u00e9dium\u201d afin de mieux saisir les op\u00e9rations \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de design ?<\/li>\n<\/ul>\n\n(Re)qualifier<\/em> : En quoi la notion de m\u00e9dium permet-elle de regarder le design comme une activit\u00e9 recherchant la mise en mouvement des cultures mat\u00e9rielles (Malafouris, 2013 ; Ingold, 2011 ; Knappett, 2005) existantes en instituant diff\u00e9rentes cultures de conception ? Comment la notion de m\u00e9dium permet-elle de requalifier les activit\u00e9s de design ?<\/li>\n<\/ul>\n\nDistinguer<\/em> : La notion de m\u00e9dium est-elle op\u00e9ratoire dans tous les actes de conception ? Peut-elle \u00eatre une voie pour discerner les sp\u00e9cificit\u00e9s de chaque pratique de conception, que ce soit en art, en ing\u00e9nierie, en design et dans d\u2019autres domaines ? Quelles peuvent en \u00eatre ses limites pour l\u2019\u00e9pist\u00e9mologie du design ?<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta name=\"description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Design & m\u00e9dium(s)\" \/>\n<meta property=\"og:description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Sciences du Design<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tCoordinateurs de ce num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tsdd_design_medium@proton.me<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nSciences du Design<\/em> lance un appel \u00e0 articles sur le th\u00e8me \u00ab Design & m\u00e9dium(s) \u00bb pour son num\u00e9ro 19 \u00e0 para\u00eetre au printemps 2024, sous la direction de Estelle Chaillat (ENS Paris Saclay, T\u00e9l\u00e9com Paris), Ambre Charpier (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), Anitra Lourie (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), C\u00e9line Monvoisin (UQAM, Montr\u00e9al), Justine P\u00e9neau (Montpellier) et Dorian Reunkrilerk (Minist\u00e8re de l\u2019\u00c9ducation nationale et de la jeunesse, Paris).<\/p>\nCe num\u00e9ro th\u00e9matique s\u2019int\u00e9resse \u00e0 la relation intrins\u00e8que entre les pratiques de design et les m\u00e9diums qu\u2019elles accueillent, combinent et produisent, et qui r\u00e9ciproquement, m\u00e9nagent certains espaces de conception.<\/p>\nObservation et appareil th\u00e9orique<\/h2>\nLes marqueurs et post-it du co-design, le corps du.de la designer qui essaie un prototype, les calques de l\u2019architecte qui se superposent sous l\u2019effet du crit\u00e9rium, les textures d\u2019une laine ennoblie du.de la textilien.ne, l\u2019\u00e9cran s\u00e9rigraphique ou num\u00e9rique du.de la graphiste, les indices contextuels d\u00e9chiffr\u00e9s par\u00a0le.la paysagiste\u2026 Autant d\u2019exemples qui illustrent la polymorphie du vocable \u00ab m\u00e9dium \u00bb et sugg\u00e8rent l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des approches th\u00e9oriques et m\u00e9thodologiques qui tentent de le circonscrire (Kramer, 2015). \u00c0 la fois environnement perceptif (Benjamin, 1968), milieu sensible (Locke, 1735), appareil d\u2019enregistrement technique et culturel (Kittler, 1986), ressource s\u00e9miotique (Bezemer & Kress, 2015), cadre de l\u2019interaction (Latour, 1994) ou espace po\u00e9tique de repr\u00e9sentation (Gent\u00e8s, 2017), ces perspectives divergentes insistent pourtant toutes sur les natures et modalit\u00e9s multiples du m\u00e9dium mais aussi sur son r\u00f4le transformatif de nos exp\u00e9riences et des repr\u00e9sentations sensibles du monde.<\/p>\nIl serait h\u00e2tif de penser la r\u00e9ciprocit\u00e9 relationnelle entre le.la praticien.ne, l\u2019acte de design et le m\u00e9dium comme un simple effet miroir. On retiendra que le pr\u00e9fixe re- <\/em>de la r\u00e9ciprocit\u00e9 appelle autant le contraire, l\u2019it\u00e9ration que l\u2019augmentation. En cela, la r\u00e9ciprocit\u00e9 se nourrit de la puissance de chaque partie dans un \u00e9change fait de surprises et d\u2019affects mutuels, de manipulations et de ma\u00eetrises progressives dans une vis\u00e9e de d\u00e9passement et\/ou d\u2019\u00e9puisement projectif.<\/p>\nCet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\nApproche et cadrage<\/h2>\nNous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\nNous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\nFormats et pistes<\/h2>\nAfin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n\nDialoguer<\/em> : En quoi le concept m\u00e9dium peut-il favoriser une pratique dialoguant n\u00e9cessairement avec un contexte donn\u00e9, et plus encore participer \u00e0 d\u00e9velopper des contextes favorables aux pratiques du design ?<\/li>\n<\/ul>\n\nG\u00e9n\u00e9rer<\/em> : Comment cette perspective m\u00e9diatique du design permet-elle de reconsid\u00e9rer tant l\u2019activit\u00e9 de conception que la r\u00e9ception des artefacts produits, en faisant notamment de tout \u00e9l\u00e9ment mat\u00e9riel l\u2019amorce d\u2019un rapport inventif au monde ?<\/li>\n<\/ul>\n\nEnrichir<\/em> : Comment la notion de mat\u00e9rialit\u00e9, d\u00e9velopp\u00e9e dans le champ du design depuis les ann\u00e9es 1980 peut-elle \u00eatre enrichie par la prise en compte des dimensions sociales, culturelles et politiques associ\u00e9es aux m\u00e9diums ?<\/li>\n<\/ul>\n\nMod\u00e9liser<\/em> : Quels mod\u00e8les analytiques peuvent-ils \u00e9merger d\u2019une lecture centr\u00e9e sur le concept de \u201cm\u00e9dium\u201d afin de mieux saisir les op\u00e9rations \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de design ?<\/li>\n<\/ul>\n\n(Re)qualifier<\/em> : En quoi la notion de m\u00e9dium permet-elle de regarder le design comme une activit\u00e9 recherchant la mise en mouvement des cultures mat\u00e9rielles (Malafouris, 2013 ; Ingold, 2011 ; Knappett, 2005) existantes en instituant diff\u00e9rentes cultures de conception ? Comment la notion de m\u00e9dium permet-elle de requalifier les activit\u00e9s de design ?<\/li>\n<\/ul>\n\nDistinguer<\/em> : La notion de m\u00e9dium est-elle op\u00e9ratoire dans tous les actes de conception ? Peut-elle \u00eatre une voie pour discerner les sp\u00e9cificit\u00e9s de chaque pratique de conception, que ce soit en art, en ing\u00e9nierie, en design et dans d\u2019autres domaines ? Quelles peuvent en \u00eatre ses limites pour l\u2019\u00e9pist\u00e9mologie du design ?<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Sciences du Design<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tCoordinateurs de ce num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tsdd_design_medium@proton.me<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nSciences du Design<\/em> lance un appel \u00e0 articles sur le th\u00e8me \u00ab Design & m\u00e9dium(s) \u00bb pour son num\u00e9ro 19 \u00e0 para\u00eetre au printemps 2024, sous la direction de Estelle Chaillat (ENS Paris Saclay, T\u00e9l\u00e9com Paris), Ambre Charpier (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), Anitra Lourie (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), C\u00e9line Monvoisin (UQAM, Montr\u00e9al), Justine P\u00e9neau (Montpellier) et Dorian Reunkrilerk (Minist\u00e8re de l\u2019\u00c9ducation nationale et de la jeunesse, Paris).<\/p>\nCe num\u00e9ro th\u00e9matique s\u2019int\u00e9resse \u00e0 la relation intrins\u00e8que entre les pratiques de design et les m\u00e9diums qu\u2019elles accueillent, combinent et produisent, et qui r\u00e9ciproquement, m\u00e9nagent certains espaces de conception.<\/p>\nObservation et appareil th\u00e9orique<\/h2>\nLes marqueurs et post-it du co-design, le corps du.de la designer qui essaie un prototype, les calques de l\u2019architecte qui se superposent sous l\u2019effet du crit\u00e9rium, les textures d\u2019une laine ennoblie du.de la textilien.ne, l\u2019\u00e9cran s\u00e9rigraphique ou num\u00e9rique du.de la graphiste, les indices contextuels d\u00e9chiffr\u00e9s par\u00a0le.la paysagiste\u2026 Autant d\u2019exemples qui illustrent la polymorphie du vocable \u00ab m\u00e9dium \u00bb et sugg\u00e8rent l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des approches th\u00e9oriques et m\u00e9thodologiques qui tentent de le circonscrire (Kramer, 2015). \u00c0 la fois environnement perceptif (Benjamin, 1968), milieu sensible (Locke, 1735), appareil d\u2019enregistrement technique et culturel (Kittler, 1986), ressource s\u00e9miotique (Bezemer & Kress, 2015), cadre de l\u2019interaction (Latour, 1994) ou espace po\u00e9tique de repr\u00e9sentation (Gent\u00e8s, 2017), ces perspectives divergentes insistent pourtant toutes sur les natures et modalit\u00e9s multiples du m\u00e9dium mais aussi sur son r\u00f4le transformatif de nos exp\u00e9riences et des repr\u00e9sentations sensibles du monde.<\/p>\nIl serait h\u00e2tif de penser la r\u00e9ciprocit\u00e9 relationnelle entre le.la praticien.ne, l\u2019acte de design et le m\u00e9dium comme un simple effet miroir. On retiendra que le pr\u00e9fixe re- <\/em>de la r\u00e9ciprocit\u00e9 appelle autant le contraire, l\u2019it\u00e9ration que l\u2019augmentation. En cela, la r\u00e9ciprocit\u00e9 se nourrit de la puissance de chaque partie dans un \u00e9change fait de surprises et d\u2019affects mutuels, de manipulations et de ma\u00eetrises progressives dans une vis\u00e9e de d\u00e9passement et\/ou d\u2019\u00e9puisement projectif.<\/p>\nCet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\nApproche et cadrage<\/h2>\nNous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\nNous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\nFormats et pistes<\/h2>\nAfin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n\nDialoguer<\/em> : En quoi le concept m\u00e9dium peut-il favoriser une pratique dialoguant n\u00e9cessairement avec un contexte donn\u00e9, et plus encore participer \u00e0 d\u00e9velopper des contextes favorables aux pratiques du design ?<\/li>\n<\/ul>\n\nG\u00e9n\u00e9rer<\/em> : Comment cette perspective m\u00e9diatique du design permet-elle de reconsid\u00e9rer tant l\u2019activit\u00e9 de conception que la r\u00e9ception des artefacts produits, en faisant notamment de tout \u00e9l\u00e9ment mat\u00e9riel l\u2019amorce d\u2019un rapport inventif au monde ?<\/li>\n<\/ul>\n\nEnrichir<\/em> : Comment la notion de mat\u00e9rialit\u00e9, d\u00e9velopp\u00e9e dans le champ du design depuis les ann\u00e9es 1980 peut-elle \u00eatre enrichie par la prise en compte des dimensions sociales, culturelles et politiques associ\u00e9es aux m\u00e9diums ?<\/li>\n<\/ul>\n\nMod\u00e9liser<\/em> : Quels mod\u00e8les analytiques peuvent-ils \u00e9merger d\u2019une lecture centr\u00e9e sur le concept de \u201cm\u00e9dium\u201d afin de mieux saisir les op\u00e9rations \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de design ?<\/li>\n<\/ul>\n\n(Re)qualifier<\/em> : En quoi la notion de m\u00e9dium permet-elle de regarder le design comme une activit\u00e9 recherchant la mise en mouvement des cultures mat\u00e9rielles (Malafouris, 2013 ; Ingold, 2011 ; Knappett, 2005) existantes en instituant diff\u00e9rentes cultures de conception ? Comment la notion de m\u00e9dium permet-elle de requalifier les activit\u00e9s de design ?<\/li>\n<\/ul>\n\nDistinguer<\/em> : La notion de m\u00e9dium est-elle op\u00e9ratoire dans tous les actes de conception ? Peut-elle \u00eatre une voie pour discerner les sp\u00e9cificit\u00e9s de chaque pratique de conception, que ce soit en art, en ing\u00e9nierie, en design et dans d\u2019autres domaines ? Quelles peuvent en \u00eatre ses limites pour l\u2019\u00e9pist\u00e9mologie du design ?<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta name=\"description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Design & m\u00e9dium(s)\" \/>\n<meta property=\"og:description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2023-06-22T09:05:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-22T09:05:31+00:00\" \/>\n<meta name=\"author\" content=\"Fabien Bonnet\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/design-mediums\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/design-mediums\\\/\"},\"author\":{\"name\":\"Fabien Bonnet\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/9f83573bda33f40c68c7c826e9567df6\"},\"headline\":\"Design 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Sciences du Design<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tCoordinateurs de ce num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tsdd_design_medium@proton.me<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nSciences du Design<\/em> lance un appel \u00e0 articles sur le th\u00e8me \u00ab Design & m\u00e9dium(s) \u00bb pour son num\u00e9ro 19 \u00e0 para\u00eetre au printemps 2024, sous la direction de Estelle Chaillat (ENS Paris Saclay, T\u00e9l\u00e9com Paris), Ambre Charpier (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), Anitra Lourie (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), C\u00e9line Monvoisin (UQAM, Montr\u00e9al), Justine P\u00e9neau (Montpellier) et Dorian Reunkrilerk (Minist\u00e8re de l\u2019\u00c9ducation nationale et de la jeunesse, Paris).<\/p>\nCe num\u00e9ro th\u00e9matique s\u2019int\u00e9resse \u00e0 la relation intrins\u00e8que entre les pratiques de design et les m\u00e9diums qu\u2019elles accueillent, combinent et produisent, et qui r\u00e9ciproquement, m\u00e9nagent certains espaces de conception.<\/p>\nObservation et appareil th\u00e9orique<\/h2>\nLes marqueurs et post-it du co-design, le corps du.de la designer qui essaie un prototype, les calques de l\u2019architecte qui se superposent sous l\u2019effet du crit\u00e9rium, les textures d\u2019une laine ennoblie du.de la textilien.ne, l\u2019\u00e9cran s\u00e9rigraphique ou num\u00e9rique du.de la graphiste, les indices contextuels d\u00e9chiffr\u00e9s par\u00a0le.la paysagiste\u2026 Autant d\u2019exemples qui illustrent la polymorphie du vocable \u00ab m\u00e9dium \u00bb et sugg\u00e8rent l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des approches th\u00e9oriques et m\u00e9thodologiques qui tentent de le circonscrire (Kramer, 2015). \u00c0 la fois environnement perceptif (Benjamin, 1968), milieu sensible (Locke, 1735), appareil d\u2019enregistrement technique et culturel (Kittler, 1986), ressource s\u00e9miotique (Bezemer & Kress, 2015), cadre de l\u2019interaction (Latour, 1994) ou espace po\u00e9tique de repr\u00e9sentation (Gent\u00e8s, 2017), ces perspectives divergentes insistent pourtant toutes sur les natures et modalit\u00e9s multiples du m\u00e9dium mais aussi sur son r\u00f4le transformatif de nos exp\u00e9riences et des repr\u00e9sentations sensibles du monde.<\/p>\nIl serait h\u00e2tif de penser la r\u00e9ciprocit\u00e9 relationnelle entre le.la praticien.ne, l\u2019acte de design et le m\u00e9dium comme un simple effet miroir. On retiendra que le pr\u00e9fixe re- <\/em>de la r\u00e9ciprocit\u00e9 appelle autant le contraire, l\u2019it\u00e9ration que l\u2019augmentation. En cela, la r\u00e9ciprocit\u00e9 se nourrit de la puissance de chaque partie dans un \u00e9change fait de surprises et d\u2019affects mutuels, de manipulations et de ma\u00eetrises progressives dans une vis\u00e9e de d\u00e9passement et\/ou d\u2019\u00e9puisement projectif.<\/p>\nCet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\nApproche et cadrage<\/h2>\nNous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\nNous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\nFormats et pistes<\/h2>\nAfin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n\nDialoguer<\/em> : En quoi le concept m\u00e9dium peut-il favoriser une pratique dialoguant n\u00e9cessairement avec un contexte donn\u00e9, et plus encore participer \u00e0 d\u00e9velopper des contextes favorables aux pratiques du design ?<\/li>\n<\/ul>\n\nG\u00e9n\u00e9rer<\/em> : Comment cette perspective m\u00e9diatique du design permet-elle de reconsid\u00e9rer tant l\u2019activit\u00e9 de conception que la r\u00e9ception des artefacts produits, en faisant notamment de tout \u00e9l\u00e9ment mat\u00e9riel l\u2019amorce d\u2019un rapport inventif au monde ?<\/li>\n<\/ul>\n\nEnrichir<\/em> : Comment la notion de mat\u00e9rialit\u00e9, d\u00e9velopp\u00e9e dans le champ du design depuis les ann\u00e9es 1980 peut-elle \u00eatre enrichie par la prise en compte des dimensions sociales, culturelles et politiques associ\u00e9es aux m\u00e9diums ?<\/li>\n<\/ul>\n\nMod\u00e9liser<\/em> : Quels mod\u00e8les analytiques peuvent-ils \u00e9merger d\u2019une lecture centr\u00e9e sur le concept de \u201cm\u00e9dium\u201d afin de mieux saisir les op\u00e9rations \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de design ?<\/li>\n<\/ul>\n\n(Re)qualifier<\/em> : En quoi la notion de m\u00e9dium permet-elle de regarder le design comme une activit\u00e9 recherchant la mise en mouvement des cultures mat\u00e9rielles (Malafouris, 2013 ; Ingold, 2011 ; Knappett, 2005) existantes en instituant diff\u00e9rentes cultures de conception ? Comment la notion de m\u00e9dium permet-elle de requalifier les activit\u00e9s de design ?<\/li>\n<\/ul>\n\nDistinguer<\/em> : La notion de m\u00e9dium est-elle op\u00e9ratoire dans tous les actes de conception ? Peut-elle \u00eatre une voie pour discerner les sp\u00e9cificit\u00e9s de chaque pratique de conception, que ce soit en art, en ing\u00e9nierie, en design et dans d\u2019autres domaines ? Quelles peuvent en \u00eatre ses limites pour l\u2019\u00e9pist\u00e9mologie du design ?<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Sciences du Design<\/em> lance un appel \u00e0 articles sur le th\u00e8me \u00ab Design & m\u00e9dium(s) \u00bb pour son num\u00e9ro 19 \u00e0 para\u00eetre au printemps 2024, sous la direction de Estelle Chaillat (ENS Paris Saclay, T\u00e9l\u00e9com Paris), Ambre Charpier (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), Anitra Lourie (Panth\u00e9on Sorbonne Paris 1, T\u00e9l\u00e9com Paris), C\u00e9line Monvoisin (UQAM, Montr\u00e9al), Justine P\u00e9neau (Montpellier) et Dorian Reunkrilerk (Minist\u00e8re de l\u2019\u00c9ducation nationale et de la jeunesse, Paris).<\/p>\nCe num\u00e9ro th\u00e9matique s\u2019int\u00e9resse \u00e0 la relation intrins\u00e8que entre les pratiques de design et les m\u00e9diums qu\u2019elles accueillent, combinent et produisent, et qui r\u00e9ciproquement, m\u00e9nagent certains espaces de conception.<\/p>\nObservation et appareil th\u00e9orique<\/h2>\nLes marqueurs et post-it du co-design, le corps du.de la designer qui essaie un prototype, les calques de l\u2019architecte qui se superposent sous l\u2019effet du crit\u00e9rium, les textures d\u2019une laine ennoblie du.de la textilien.ne, l\u2019\u00e9cran s\u00e9rigraphique ou num\u00e9rique du.de la graphiste, les indices contextuels d\u00e9chiffr\u00e9s par\u00a0le.la paysagiste\u2026 Autant d\u2019exemples qui illustrent la polymorphie du vocable \u00ab m\u00e9dium \u00bb et sugg\u00e8rent l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des approches th\u00e9oriques et m\u00e9thodologiques qui tentent de le circonscrire (Kramer, 2015). \u00c0 la fois environnement perceptif (Benjamin, 1968), milieu sensible (Locke, 1735), appareil d\u2019enregistrement technique et culturel (Kittler, 1986), ressource s\u00e9miotique (Bezemer & Kress, 2015), cadre de l\u2019interaction (Latour, 1994) ou espace po\u00e9tique de repr\u00e9sentation (Gent\u00e8s, 2017), ces perspectives divergentes insistent pourtant toutes sur les natures et modalit\u00e9s multiples du m\u00e9dium mais aussi sur son r\u00f4le transformatif de nos exp\u00e9riences et des repr\u00e9sentations sensibles du monde.<\/p>\nIl serait h\u00e2tif de penser la r\u00e9ciprocit\u00e9 relationnelle entre le.la praticien.ne, l\u2019acte de design et le m\u00e9dium comme un simple effet miroir. On retiendra que le pr\u00e9fixe re- <\/em>de la r\u00e9ciprocit\u00e9 appelle autant le contraire, l\u2019it\u00e9ration que l\u2019augmentation. En cela, la r\u00e9ciprocit\u00e9 se nourrit de la puissance de chaque partie dans un \u00e9change fait de surprises et d\u2019affects mutuels, de manipulations et de ma\u00eetrises progressives dans une vis\u00e9e de d\u00e9passement et\/ou d\u2019\u00e9puisement projectif.<\/p>\nCet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\nApproche et cadrage<\/h2>\nNous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\nNous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\nFormats et pistes<\/h2>\nAfin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n\nDialoguer<\/em> : En quoi le concept m\u00e9dium peut-il favoriser une pratique dialoguant n\u00e9cessairement avec un contexte donn\u00e9, et plus encore participer \u00e0 d\u00e9velopper des contextes favorables aux pratiques du design ?<\/li>\n<\/ul>\n\nG\u00e9n\u00e9rer<\/em> : Comment cette perspective m\u00e9diatique du design permet-elle de reconsid\u00e9rer tant l\u2019activit\u00e9 de conception que la r\u00e9ception des artefacts produits, en faisant notamment de tout \u00e9l\u00e9ment mat\u00e9riel l\u2019amorce d\u2019un rapport inventif au monde ?<\/li>\n<\/ul>\n\nEnrichir<\/em> : Comment la notion de mat\u00e9rialit\u00e9, d\u00e9velopp\u00e9e dans le champ du design depuis les ann\u00e9es 1980 peut-elle \u00eatre enrichie par la prise en compte des dimensions sociales, culturelles et politiques associ\u00e9es aux m\u00e9diums ?<\/li>\n<\/ul>\n\nMod\u00e9liser<\/em> : Quels mod\u00e8les analytiques peuvent-ils \u00e9merger d\u2019une lecture centr\u00e9e sur le concept de \u201cm\u00e9dium\u201d afin de mieux saisir les op\u00e9rations \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de design ?<\/li>\n<\/ul>\n\n(Re)qualifier<\/em> : En quoi la notion de m\u00e9dium permet-elle de regarder le design comme une activit\u00e9 recherchant la mise en mouvement des cultures mat\u00e9rielles (Malafouris, 2013 ; Ingold, 2011 ; Knappett, 2005) existantes en instituant diff\u00e9rentes cultures de conception ? Comment la notion de m\u00e9dium permet-elle de requalifier les activit\u00e9s de design ?<\/li>\n<\/ul>\n\nDistinguer<\/em> : La notion de m\u00e9dium est-elle op\u00e9ratoire dans tous les actes de conception ? Peut-elle \u00eatre une voie pour discerner les sp\u00e9cificit\u00e9s de chaque pratique de conception, que ce soit en art, en ing\u00e9nierie, en design et dans d\u2019autres domaines ? Quelles peuvent en \u00eatre ses limites pour l\u2019\u00e9pist\u00e9mologie du design ?<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta name=\"description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Design & m\u00e9dium(s)\" \/>\n<meta property=\"og:description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine 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Ce num\u00e9ro th\u00e9matique s\u2019int\u00e9resse \u00e0 la relation intrins\u00e8que entre les pratiques de design et les m\u00e9diums qu\u2019elles accueillent, combinent et produisent, et qui r\u00e9ciproquement, m\u00e9nagent certains espaces de conception.<\/p>\n
Les marqueurs et post-it du co-design, le corps du.de la designer qui essaie un prototype, les calques de l\u2019architecte qui se superposent sous l\u2019effet du crit\u00e9rium, les textures d\u2019une laine ennoblie du.de la textilien.ne, l\u2019\u00e9cran s\u00e9rigraphique ou num\u00e9rique du.de la graphiste, les indices contextuels d\u00e9chiffr\u00e9s par\u00a0le.la paysagiste\u2026 Autant d\u2019exemples qui illustrent la polymorphie du vocable \u00ab m\u00e9dium \u00bb et sugg\u00e8rent l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 des approches th\u00e9oriques et m\u00e9thodologiques qui tentent de le circonscrire (Kramer, 2015). \u00c0 la fois environnement perceptif (Benjamin, 1968), milieu sensible (Locke, 1735), appareil d\u2019enregistrement technique et culturel (Kittler, 1986), ressource s\u00e9miotique (Bezemer & Kress, 2015), cadre de l\u2019interaction (Latour, 1994) ou espace po\u00e9tique de repr\u00e9sentation (Gent\u00e8s, 2017), ces perspectives divergentes insistent pourtant toutes sur les natures et modalit\u00e9s multiples du m\u00e9dium mais aussi sur son r\u00f4le transformatif de nos exp\u00e9riences et des repr\u00e9sentations sensibles du monde.<\/p>\n
Il serait h\u00e2tif de penser la r\u00e9ciprocit\u00e9 relationnelle entre le.la praticien.ne, l\u2019acte de design et le m\u00e9dium comme un simple effet miroir. On retiendra que le pr\u00e9fixe re- <\/em>de la r\u00e9ciprocit\u00e9 appelle autant le contraire, l\u2019it\u00e9ration que l\u2019augmentation. En cela, la r\u00e9ciprocit\u00e9 se nourrit de la puissance de chaque partie dans un \u00e9change fait de surprises et d\u2019affects mutuels, de manipulations et de ma\u00eetrises progressives dans une vis\u00e9e de d\u00e9passement et\/ou d\u2019\u00e9puisement projectif.<\/p>\nCet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\nApproche et cadrage<\/h2>\nNous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\nNous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\nFormats et pistes<\/h2>\nAfin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n\nDialoguer<\/em> : En quoi le concept m\u00e9dium peut-il favoriser une pratique dialoguant n\u00e9cessairement avec un contexte donn\u00e9, et plus encore participer \u00e0 d\u00e9velopper des contextes favorables aux pratiques du design ?<\/li>\n<\/ul>\n\nG\u00e9n\u00e9rer<\/em> : Comment cette perspective m\u00e9diatique du design permet-elle de reconsid\u00e9rer tant l\u2019activit\u00e9 de conception que la r\u00e9ception des artefacts produits, en faisant notamment de tout \u00e9l\u00e9ment mat\u00e9riel l\u2019amorce d\u2019un rapport inventif au monde ?<\/li>\n<\/ul>\n\nEnrichir<\/em> : Comment la notion de mat\u00e9rialit\u00e9, d\u00e9velopp\u00e9e dans le champ du design depuis les ann\u00e9es 1980 peut-elle \u00eatre enrichie par la prise en compte des dimensions sociales, culturelles et politiques associ\u00e9es aux m\u00e9diums ?<\/li>\n<\/ul>\n\nMod\u00e9liser<\/em> : Quels mod\u00e8les analytiques peuvent-ils \u00e9merger d\u2019une lecture centr\u00e9e sur le concept de \u201cm\u00e9dium\u201d afin de mieux saisir les op\u00e9rations \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de design ?<\/li>\n<\/ul>\n\n(Re)qualifier<\/em> : En quoi la notion de m\u00e9dium permet-elle de regarder le design comme une activit\u00e9 recherchant la mise en mouvement des cultures mat\u00e9rielles (Malafouris, 2013 ; Ingold, 2011 ; Knappett, 2005) existantes en instituant diff\u00e9rentes cultures de conception ? Comment la notion de m\u00e9dium permet-elle de requalifier les activit\u00e9s de design ?<\/li>\n<\/ul>\n\nDistinguer<\/em> : La notion de m\u00e9dium est-elle op\u00e9ratoire dans tous les actes de conception ? Peut-elle \u00eatre une voie pour discerner les sp\u00e9cificit\u00e9s de chaque pratique de conception, que ce soit en art, en ing\u00e9nierie, en design et dans d\u2019autres domaines ? Quelles peuvent en \u00eatre ses limites pour l\u2019\u00e9pist\u00e9mologie du design ?<\/li>\n<\/ul>\nModalit\u00e9s de soumission<\/h2>\nLes auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Cet appel, en accord avec le postulat th\u00e9orique pr\u00e9c\u00e9dent, propose de penser les pratiques de conception au prisme du m\u00e9dium, compris comme m\u00e9diateur et transformateur. Ce num\u00e9ro th\u00e9matique d\u00e9passe\u00a0une lecture exclusivement informationnelle du m\u00e9dium qui limite sa fonction \u00e0 celle de support ou de v\u00e9hicule de message et qui \u00e9clipserait tant sa mat\u00e9rialit\u00e9, son affordance (Gibson, 1979) que son incorporation (Merleau-Ponty, 1945), au profit de sa fonction de repr\u00e9sentation (Mersch, 2016). A l\u2019inverse, l\u2019entrelacement des multiples propri\u00e9t\u00e9s des m\u00e9diums enrichit l\u2019acte de conception par sa dimension ph\u00e9nom\u00e9nologique et incarn\u00e9e, conjuguant r\u00e9ceptions multisensorielles, compr\u00e9hensions exp\u00e9rientielles et production multimodale, permettant aux concepteurs.trices de faire advenir des propositions formelles et symboliques nouvelles. Concepteurs.trices et m\u00e9diums entretiennent ainsi un rapport dialogique de transformations r\u00e9ciproques : si ces m\u00e9diums sont transform\u00e9s par l\u2019action du.de la designer, celui-ci est en retour transform\u00e9 par ce qu\u2019ils lui renvoient (Julien et Rosselin, 2009 ; Sch\u00f6n, 1983). \u00c0 cet effet, le concept de m\u00e9dium permet une lecture des nombreuses dimensions que les formats d\u2019inscriptions, pr\u00e9sents dans l\u2019activit\u00e9 de design, mobilisent dans cette conversation.<\/p>\n
Nous postulons ainsi que les pratiques de conception doivent consid\u00e9rer la multiplicit\u00e9 et la multimodalit\u00e9 des propri\u00e9t\u00e9s du m\u00e9dium \u2013 notamment mat\u00e9rielles, affectives, repr\u00e9sentationnelles, institutionnelles, symboliques et techniques \u2013 afin d\u2019engager un travail de s\u00e9miotisation, tant social et partag\u00e9 qu\u2019exp\u00e9rientiel et sensoriel, proprement g\u00e9n\u00e9rateur d\u2019espaces de conception (Le Masson & Weil, 2016). Nous faisons alors l\u2019hypoth\u00e8se que l\u2019approche de la mat\u00e9rialit\u00e9 dans le design (Levy, 2020 ; Beaubois, 2022 ; Graham et al., 2017 ; Henderson, 1998 ; Ingold, 2017 ; M\u00e4kel\u00e4, 2007) et celle propos\u00e9e en th\u00e9orie des m\u00e9dias (Citton, 2017 ; Mitchell, 2008 ; Galloway, 2004 ; Hayles, 1999 ; Luhmann, 1997 ; Kittler, 1986 ; McLuhan, 1964), peuvent faire \u00e9merger une lecture th\u00e9orique nouvelle prenant en compte la relation de r\u00e9ciprocit\u00e9 entre les pratiques de conception et les m\u00e9diums qui les peuplent (Gent\u00e8s, 2022). Nous proposons aux contributeurs et contributrices d\u2019observer, dans une approche sym\u00e9trique (Latour, 1991), l\u2019activit\u00e9 de conception en tant que situation locale o\u00f9 se nouent des interactions entre une diversit\u00e9 d\u2019acteurs.rices et de m\u00e9diums, lesquelles produisent des inflexions dans l\u2019activit\u00e9 m\u00eame de conception, mais aussi dans les esth\u00e9tiques, finalit\u00e9s, et \u00e9thiques qui en d\u00e9coulent. Cette perspective devra permettre d\u2019observer les dynamiques r\u00e9ciproques entre la situation de conception et l\u2019ensemble des \u00e9l\u00e9ments qui la constituent.<\/p>\n
Nous invitons donc les auteurs et autrices \u00e0 d\u00e9finir, interroger et enrichir cette dynamique r\u00e9ciproque et interd\u00e9pendante entre m\u00e9dium et\u00a0pratiques de conception \u00e0 travers deux axes. Le premier s\u2019int\u00e9resse au m\u00e9dium en tant qu\u2019il fa\u00e7onne les dimensions ph\u00e9nom\u00e9nologique, prax\u00e9ologique, \u00e9thique, \u00e0 l\u2019\u0153uvre dans l\u2019activit\u00e9 de conception. Il s\u2019agit de s\u2019interroger sur le r\u00f4le et les effets produits par ces m\u00e9diums sur les pratiques de conception. Sym\u00e9triquement, le deuxi\u00e8me axe part des dimensions sociales, culturelles et politiques comme d\u00e9terminant les m\u00e9diums propices \u00e0 une activit\u00e9 de conception. Il s\u2019agit ici de prendre la pratique de design en tant que praxis favorisant ou non certaines visions du monde dans son activit\u00e9 dialogique avec les \u00e9l\u00e9ments (m\u00e9diums) d\u2019une situation.<\/p>\n
Afin de rendre compte de la profondeur du concept de m\u00e9dium dans les pratiques de conception, nous invitons les auteurs et les autrices \u00e0 s\u2019appuyer sur les champs de l\u2019art, de la th\u00e9orie des m\u00e9dias, de l\u2019esth\u00e9tique, de la philosophie, du design, de l\u2019anthropologie, des sciences de l\u2019information et de la communication, etc. et encourageons vivement les collaborations entre chercheurs.euses de diff\u00e9rents champs disciplinaires. Nous accueillons ainsi des propositions de diverses natures : empiriques, th\u00e9oriques, m\u00e9thodologiques, \u00e9tudes de cas historiques, comparatives ou situ\u00e9es. La liste de questions suivante sugg\u00e8re, de fa\u00e7on non exhaustive, les th\u00e8mes \u00e0 aborder au sein de ce num\u00e9ro :<\/p>\n
Les auteurs et les autrices doivent soumettre un article complet (full paper) <\/em>via la nouvelle plateforme \u00e9ditoriale de la revue accessible \u00e0 cette adresse : https:\/\/edition.uqam.ca\/sciences-du-design<\/a><\/p>\n\nSoumettre un article<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n\nConsignes aux auteurs<\/a><\/div>\n<\/div>\nUn article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\nCalendrier<\/h2>\n\n15 octobre 2023 <\/strong> : Soumission des articles complets<\/li>\n30 octobre 2023 <\/strong> : r\u00e9ponse provisoire aux auteurs.rices<\/li>\n30 janvier 2024 <\/strong> : r\u00e9ponse d\u00e9finitive aux auteurs.rices<\/li>\nJuin 2024 <\/strong> : publication en ligne<\/li>\n<\/ul>\nR\u00e9f\u00e9rences<\/h2>\nBeaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Un article complet comprend entre 30 000 signes (soit environ 5000 mots) et 40 000 signes (soit environ 7000 mots), hors bibliographies et notes. Merci de respecter scrupuleusement les consignes aux auteurs.<\/p>\n
Beaubois, V. (2022). La Zone obscure : vers une pens\u00e9e mineure du design<\/em>. it : \u00e9ditions.<\/p>\nBenjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Benjamin, W, (1968). Work of Art in the Age of Mechanical Reproduction. <\/em>Dans Illuminations. <\/em>(traduit par Hannah Arendt). Harcourt, Brace & World.<\/p>\nBezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Bezemer, J., & Kress, G. (2015). Multimodality, learning and communication : A social semiotic frame<\/em>. Routledge.<\/p>\nCitton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Citton, Y. (2017). M\u00e9diarchie<\/em>. M\u00e9dia Diffusion.<\/p>\nGalloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Galloway, A. R. (2004). Protocol : How control exists after decentralization<\/em>. MIT press.<\/p>\nGent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Gent\u00e8s, A. (2022). Pour une th\u00e9orie \u00ab m\u00e9dia-centr\u00e9e \u00bb du design. Approches Theoriques en Information-Communication (ATIC)<\/em>, 4(1), 51-71.<\/p>\nGent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Gent\u00e8s, A.. (2017). The In-Discipline of Design : Bridging the Gap Between Humanities and Engineering<\/em>. Springer.<\/p>\nGibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Gibson, J. J. (1979). The Ecological Approach to Visual Perception<\/em>. Taylor & Francis.<\/p>\nHayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Hayles, N. K. (1999). The condition of virtuality<\/em>. Dans P. Lunenfeld (dir.), The digital dialectic : New essays on new media<\/em>. MIT Press<\/p>\nHenderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Henderson, K. (1998). The role of material objects in the design process : A comparison of two design cultures and how they contend with automation. Science, Technology, & Human Values<\/em>, 23(2), 139-174.<\/p>\nIngold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Ingold, T. (2017). Correspondences, Knowing from the inside<\/em>. Aberdeen University Press.<\/p>\nIngold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Ingold, T. (dir.). (2011). Redrawing anthropology : Materials, movements, lines<\/em>. Ashgate Publishing, Ltd.<\/p>\nJulien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta name=\"description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Design & m\u00e9dium(s)\" \/>\n<meta property=\"og:description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine 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Julien, M. P., & Rosselin, C. (dir.). (2009). Le sujet contre les objets\u2026 tout contre : Ethnographies de cultures mat\u00e9rielles<\/em>. CTHS.<\/p>\nKittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Kittler, F. (1986). Grammophon, Film, Typewriter.<\/em> Brinkman & Bose.<\/p>\nKnappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Knappett, C. (2005). Thinking through material culture : An interdisciplinary perspective<\/em>. University of Pennsylvania Press.<\/p>\nKr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Kr\u00e4mer, S. (2015). Medium, messenger, transmission : An approach to media philosophy<\/em>. Amsterdam University Press.<\/p>\nLatour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Latour, B. (1994). Une sociologie sans objet ? Remarques sur l\u2019interobjectivit\u00e9. Sociologie du travail<\/em>, 587-607.<\/p>\nLatour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Latour, B. (1991). Nous n\u2019avons jamais \u00e9t\u00e9 modernes, essai d\u2019anthropologie sym\u00e9trique<\/em>. La D\u00e9couverte.<\/p>\nLe Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Le Masson, P. et Weil, B. 2016. Fayol, Guillaume, Chevenard \u2013 la Science, l\u2019Industrie et l\u2019exploration de l\u2019inconnu : logique et gouvernance d\u2019une recherche conceptive.Entreprises et Histoire<\/em>, (83), 79-107.<\/p>\nLevy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta name=\"description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Design & m\u00e9dium(s)\" \/>\n<meta property=\"og:description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine 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Levy, P. (2020). Artefactual emptiness : On appropriation in kansei design<\/em>. Proceedings of the Kansei Engineering and Emotion Research International Conference 2020, KEER2020.<\/p>\nLocke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Locke, J. (1735). An Essay concerning Human Understanding\u2026 etc<\/em> (Vol. 1). A. Bettesworth.<\/p>\nLuhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Luhmann, N. (1997). Die gesellschaft der gesellschaft <\/em>(Vol. 2). Suhrkamp Verlag.<\/p>\nM\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. 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M\u00e4kel\u00e4, M. (2007). Knowing through making : The role of the artefact in practice-led research. Knowledge, Technology & Policy<\/em>, 20, 157-163.<\/p>\nMalafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Malafouris, L. (2013). How things shape the mind<\/em>. MIT press.<\/p>\nMcLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta name=\"description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine P\u00e9neau et Dorian Reunkrilerk.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/design-mediums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Design & m\u00e9dium(s)\" \/>\n<meta property=\"og:description\" content=\"Sciences du Design lance un appel \u00e0 articles sur le th\u00e8me \u00ab\u00a0Design & m\u00e9dium(s)\u00a0\u00bb pour son num\u00e9ro 19, sous la direction de Estelle Chaillat, Ambre Charpier, Anitra Lourie, C\u00e9line Monvoisin, Justine 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McLuhan, M. (1964). Understanding media : the extensions of man<\/em>. SIgnet Books.<\/p>\nMerleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. Basic Books.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nDesign<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 22 juin 2023 Th\u00e9matiques Design R\u00e9ponse attendue pour le 15\/10\/2023 Type de r\u00e9ponse Contribution compl\u00e8te Type de contribution attendue Article Nom de la publication Sciences du […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[173],"thematique":[41],"sfsic":[],"class_list":["post-29165","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-design","thematique-design","wp-sticky"],"acf":[],"yoast_head":"\nDesign & m\u00e9dium(s)<\/title>\n<meta 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Merleau-Ponty, M. (1945). Ph\u00e9nom\u00e9nologie de la perception<\/em>. Gallimard.<\/p>\nMersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. 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Mersch, D. (2018). Th\u00e9orie des m\u00e9dias : une introduction <\/em>(traduit par Emmanuel Alloa). Les presses du r\u00e9el.<\/p>\nMitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. 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Mitchell, W. J. (2008). Addressing media. MediaTropes<\/em>, 1(1), 1-18.<\/p>\nSch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. 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Sch\u00f6n, D. A.. (1983). The Reflective Practitioner : How Professionals Think in Action<\/em>. 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