Elisabeth Amblard est née en 1973 à Clermont-Ferrand. Ses nombreuses expositions montrent une pratique plastique engagée dans la conduite de tracés et dans les relations objet/art/nature, pratique sur laquelle prennent appuis ses réflexions théoriques. Auteur de plusieurs articles (« Les dessins de Catharina van Eetvelde : objets d’espace », 2011 ; « Combles: du noir et blanc dans les dessins de Pierrette Bloch, Dove Allouche, Mrzyk & Moriceau et Vija Celmins », 2012 ; etc.), elle concentre principalement ses recherches sur l’analyse du dessin contemporain et l’interrogation des modes opératoires qui génèrent les œuvres.
Jan Baetens is professor of literary and cultural studies at the University of Leuven (Louvain). A member of the MDRN research group (www.mdrn.be), he devotes most of his research to word and image studies, mainly in the so-called minor genres. He coedits the journal FPC/Formes Poétiques Contemporaines. As a published poet, he is the author of some fifteen books of poetry, most recently “Le Problème du Sud” (Les Impressions Nouvelles, 2013).
Anne Beyaert-Geslin is a professor of CIS (semiotics) at the University of Bordeaux Montaigne, deputy director of EA 4426 MICA and head of the Communication team for organizations and society. She has published over 100 articles in image, media and design semiotics. She has also edited fourteen books and collective files, including, in 2014: Scientific demonstration and image: semiotic approaches, Visible n ° 11 (with S. Shirkhodaei and V. Lloveria), PULIM and Arts and sciences: semiotic and philosophical approaches of images, with Maria Giulia Dondero, University Press of Liège. The number 46 of the journal Communication & organization coordinated with Anne Piponnier and Stéphanie Cardoso, entitled Design & project is about to be published. She has already published two personal works: The preoccupied image, Hermès Lavoisier, 2009, on report photography, and Semiotics of design, Presses Universitaires de France, 2012. La fabrication du temps was published in 2015.
Marlène Biton is currently an Engineer with the CNRS UMR ACTE 8218 team. After studying Visual Arts and working on the collections at the Musée de l’Homme, first in Human Palaeontology and then in the Black African department, she turned to ethno-aesthetics and published her thesis in Arts and Art Sciences in 1996, entitled Les bas-reliefs des palais royaux d’Abomey, Bénin, ex-Dahomey, University Paris I. A lecturer at the same university from 1988 to 2000, she is in charge of exhibitions and various projects in Benin. Her articles and books are based on artistic production in sub-Saharan Africa and particularly those of Benin.
Aline Caillet is Senior Lecturer in Aesthetics and Philosophy of Art at Paris-I Panthéon-Sorbonne University (ACTE -UMR CNRS 8218 Institute, Æsthetica team). His writings relate to the inclusion of art in social and political reality and aim to redefine its critical function in contemporary art. Author of Critical Devices. Documentaries, from cinema to the visual arts (Presses Universitaires de Rennes, 2014) and Quelle critique artiste? (Paris, LʼHarmattan, Lʼart en bref, 2008), she has also collaborated on various collective works in France and abroad, contemporary art magazines and exhibition catalogs. Active in the editorial field, she was also a member of the editorial committee of the magazine Cités aux PUF and co-directs the collection Philosophical Openings at LʼHarmattan.
Visual artist graduated with a Doctorate in Arts and Sciences of Art at the University Paris 1 Panthéon-Sorbonne under the direction of Richard Conte, Sylvie Captain-Sass continues her research around her subject “Neural plasticity as a new territory of the imagination.” Member of the Art & Science team of UMR 8218, Institut ACTE université Paris 1 Panthéon-Sorbonne. She organized a conference “Creations Infinite Brains” at Cnam in Paris. A plastic arts teacher in a design school in Sèvres, she clarifies the creative posture of the students with a psycho-physical pedagogy linked to her practice of a Japanese martial art, Shintaido.
As a Doctor of Fine Arts, with the highest qualifications, and holder of the highest level Art Teaching Degree, Richard Conte is currently Dean of the Paris 1 Fine Arts ACTE Institute (CNRS) and professor at Paris 1 Panthéon-Sorbonne University. He is a member of a the Scientific Council of Paris 1, and on the Editorial Committee of Publications de la Sorbonne. From 1995 to 2000, he was Editorial Director of the journal Recherches Poïétiques, overseeing the pubication of 9 issues. In 2002, he founded the review Plastik, which pubished 7 issues. In addition to eigth catalogues on solo exhibits of his work and nearly sixty essays published in peer reviewed journals, he is the author of En attendant que ça sèche, (While Waiting for it to Dry) published by Éditions des Musées du Berry and Galerie P. Weider in Paris in 1994, of L’usine dans l’espace francilien (Factories in the Greater Paris Area) co-written with Yann Toma and Martine Tabeaud, as well as of Libertine Apples, co-written with Emmanuel Pierrat and published by Editions Actes Sud in 2007. He has also co-directed seven collective works and created the editorial collection Arts and the Contemporary World, at Publications de la Sorbonne. Richard Conte organizes exhibits, congresses and forums around contemporary issues, concerning creation and research (Human Reproductive Cloning, Sports and Performance, Live Animals used in the Creative Process, Art and Law, Domestic Art ...). Each of these events results in a publication containing a mix of artists' and theorists' writings. As a researcher, he is particularly interested in poïesis, an anthropology of creation, and has been inspired by the French philosophers, Paul Valéry and René Passeron. His work at La Sorbonne University and his work as a practicing artist mutually support one and other. His personal involvement in his artwork and its creation nourishes his work as a researcher and professor and visa versa. Richard Conte regularly works internationally on ongoing collaborations, projects and exhibitions, travelling frequently to Tunisia, Quebec, South Korea, Belgium, Spain, Slovenia, China, USA and Russia.
Née à Taiwan, le Dr Yichien Cooper a obtenu un doctorat en éducation artistique, avec une certification en études muséales, à l’Université d’État de Floride. Spécialisée dans l'intégration des arts, elle enseigne à l’Université d'État de Washington Tri-Cities. Elle préconise activement l'éducation artistique dans les communautés. Elle a été vice-présidente de la commission des arts de la ville de Richland et est en actuellement toujours membre. Elle est également membre du conseil d'administration de la Arts Foundation of Mid-Columbia. De même, elle est présidente du «Data Visualization Working Group» à la Commission de recherche de la National Art Education Association. Enfin, elle est également présidente de l'adhésion au «Asian Art and Culture Issue Group» dans cette même association. Ses intérêts de recherche ont pour but l'intégration de programmes tels que celui des arts, de la visualisation de données, l'esthétique culturelle, ou bien tels que le programme STEAM, les programmes d'art exceptionnels et d’art pour la vie et enfin, les programmes sur les standards de pouvoir. Elle a aussi publié des livres, des chapitres de livres et des articles de revues aux États-Unis, à Taiwan et en Chine. Elle a enfin, été invitée à prononcer des discours lors de conférences d'éducation artistique à Taiwan, en Chine, en Corée du Sud et en Malaisie.
Agnès Foiret, born in France in 1958, is Associate Professor of Visual Arts and received a Doctorate in Visual Arts from the University Paris 1 Panthéon-Sorbonne. She teaches in the Visual Arts department at the University Paris 1 Panthéon-Sorbonne and is a member of the Art & Science team of the UMR 8218, Institut ACTE, University Paris 1 Panthéon-Sorbonne.
Barbara FORMIS (PhD) is a Lecturer in Philosophy of Art in the Department of Plastic Arts and Sciences of Art at the University Paris I Panthéon-Sorbonne. She is a member of the Institute ACTE (Arts Créations Théories Esthétiques), UMR 8218, Paris 1-CNRS. In 2010, she published Esthétique de la vie ordinaire (Aesthetic of ordinary life) in the series “Lignes d’art” for Presses Universitaires de France. She has also edited two anthologies: Gestes à l’œuvre (Gestures at work) (L’Incidence éditions, 2008) et Penser en corps (Thinking in bodies) (L’Harmattan, 2009). She is the co-director of the Laboratoire du Geste (Gesture Laboratory), a platform which promotes research, publication and creation in the field of the live arts. She has directed external seminars at the Collège International de Philosophie and she has been a research in the Theory Department of the Jan van Eyck Academie in Maastricht. She has published various articles in reviews and journals such as Art Press, La Revue d’esthétique, Multitudes, Alter, La Part de l’œil. She was a dancer, and currently also works on occasion as a dramaturge (notable with Richard Siegal on the work ©opirates, 2010).
Geneviève Fraisse is a philosopher and historian of feminist thought. Professor of philosophy, she co-founded the journal Les Révoltes logiques in 1975, around Jacques Rancière. She entered the National Center for Scientific Research (CNRS) in 1983 and then participated in the creation of the International College of Philosophy. She co-directed the History of Women in the West (volume 4-XIXth century, 1991). Since 1997, she has been director of research at the CNRS. Her research focuses on the history of gender controversy, from an epistemological and political point of view. She is the author of numerous works including Muse of reason, exclusive democracy and gender difference (1989), Women and their history (1998), Consent (2007), Beside gender, sex and philosophy of equality (2010). Recently, she published Les Excès du genre, concept, image, nudité, (Lignes, 2014), critical reading on gender stereotypes and nudity in politics. Involved in the feminist movement, she joined practice to theory, by being interministerial delegate for women's rights (1997-1998) and member of the European Parliament (1999-2004). She has taken the initiative in two parliamentary reports, one on the performing arts, the other on women and sport.
Pierre-Henry Frangne is Professor of aesthetics and of the philosophy of art at the Université Rennes 2, France. He works on French Symbolism, and more specifically on Mallarmé’s thought, the aesthetic dimensions of the human experience, the inter-artistic relations of the visual arts, literature, photography cinema and music, as well as on the nature and status of the arts in the contemporary world. He has written over 80 articles and has published or edited 15 books and critical editions. He is the co-editor of the Aesthetica series published by Rennes University Press.
Christophe Genin is Professor of Philosophy of Art and Cultural Studies at Paris 1 Panthéon-Sorbonne (France). He is Director of the Aesthetics, Arts and Cultures department and of the Master’s 2 course (specialty: Cultural Studies). He is a member of the Conseil des Etudes et de la Vie Universitaire of University Paris 1. His research since his first book (Réflexions de l’art (Paris, Kimé, 1998) focuses on "refractory identities", as they may be found in the works of popular or fine art, or in cultural practices. They question, from a hermeneutic and critical perspective, the commonly accepted representations and approaches, the effects of authority and the various processes of recognition by the media and the material conditions of production and distribution. His research extends to an anthropological perspective, questioning the effects induced by the meeting of cultures. Christophe Genin also studies street art (Miss.Tic femme de l’être, Impressions Nouvelles, Paris, 2008), the kitsch (Kitsch dans l’âme, Paris, Vrin, 2010), feminine art, multimedia, multiculturalism and secularism. His overview of street art will be published in October 2013 by Impressions Nouvelles.
Doctor of Social Sciences from the University of Buenos Aires - UBA; Doctor of Arts from the University of Paris 1 - Panthéon-Sorbonne; Magister in Communication and Culture (UBA); Lic. in Political Science (UBA) - Assistant Professor in "History of Art and Drawing" - Faculty of Architecture, Drawing and Town Planning of the University of Buenos Aires. Postdoctoral fellow from the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET). Teacher and pedagogical tutor of the School of the Body of Lawyers of the State of the Procurement of the Treasury of the Nation (ECAE - PTN). Editor and Collection Director of Milena Caserola Ediciones; Translator.
A former student of the École Normale Supérieure de Lyon and a graduate of the EHESS, Catherine Guesde is a contractual doctoral student and lecturer in philosophy at the University of Paris 1 - Panthéon-Sorbonne. After working as a journalist for various press titles specialized in music (Magic modern pop review, New Noise), she is currently writing a thesis within the Contemporary Philosophy team (PhiCo / CEPA) under the supervision of Danièle Cohn. His research focuses mainly on the issue of pain in listening to music, but also on the aesthetics of popular music and marginal genres (hardcore, black metal). She is also a member of the editorial board of Volume! The review of popular music.
Virgínia Kastrup is a Doctor of Psychology and a professor at the Institute of Psychology of the Federal University of Rio de Janeiro. Researcher at CNPq / Brasil, she is also one of the founding members of the NUCC - Nucleo de Pesquisa cognição e coletivos. Her research revolves around inventive cognition, the arts and visual handicap. She published A invenção de si e do mundo (Papirus, 1999; Autêntica, 2007) and Políticas da Cognição with Silvia Tedesco e Eduardo Passos (Sulina, 2008) before directing, with Eduardo Passos and Liliana da Escossia, the publication of Pistas do Método da Cartografia (Passos, Kastrup e Escóssia, Sulina, 2009). She published a chapter called “Mental images of congenital and precocious blind people: the case of distal tactile images” in Dire le non-visuel, directed by Bertrand Verine (PUL, 2014). Finally, she wrote a book called Blindness and Invention: Cognition, Arts and Accessibility on the articulation between invention, arts and visual handicap, it will soon be published by Les Doigts qui dreamers.
Doctor of Art and art sciences from the University of Paris 1, Panthéon-Sorbonne, my specialty is the criticism of digital art. In June 2007, I created at ESIEA, where I’ve taught since 2002, the ARNUM (Art and digital research) exploratory for students, artists and cultural institutions. I am a member of the International Association of Art Critics (AICA), and by that, a critic of contemporary art (especially digital art). Member of the scientific committee of the "ESARS" Research Group (Aesthetics art and science); member of the editorial committee of VRIC de laval Virtual (art section) Since September 2007, I have been scientific manager of the Raoul-Jean Moulin archive, deposited at MACVAL (Museum of Contemporary Art of Vitry-sur-Seine) on behalf of General Council of Val-de-Marne.
Doctor in Aesthetic Philosophy, qualified lecturer in sections 17 (Philosophy) and 18 (Arts). Associate of Philosophy, certified in Modern Letters. Actress and dancer, artistic director of Compagnie Roc & Doll. Passionate about the phenomenological and psychoanalytic problem of the lived body, from the Merleau-Pontian tradition, I am also interested in the interlacing of speech (the verb) on the lived body (dance-theater and neoclassical performance) and discourse on women philosophers.
Currently a doctoral candidate at Paris I Panthéon-Sorbonne University, and member of the ACTE institute, Marie-Emilie Lorenzi is completing her thesis Pink Activism: analysis of feminist-queer cultural and artistic practices in France under the supervision of Bernard Darras. Holder of a master's degree in art history and a master's degree in cultural studies, his areas of research are contemporary art, artistic, cultural, political, activist practices, considered from a perspective derived from Cultural Studies and feminist studies. Marie-Emilie Lorenzi is also a lecturer at Paris 1, editor for the digital review NonFiction and general delegate of the SFAV (Société Française d'Anthropologie Visuelle).
Gérard Pelé is Professor of Aesthetics and Art Philosophy at ENS Louis-Lumière College. He directs the cross-disciplinary Sound Art research program at ACTE Institute. His research focuses on the study of the various approaches by which creation and art consider the emergence of heterodox practices, by questioning the affects and the relationship with the body that these practices awaken. His research extends into the study of the industrialization of cultural production, within which our processes of subjectification, involving all sensorial modalities, are redefined and managed. He is the author of the following essays and literary publications: Art, informatique et mimétisme (Art, Computer Science and Mimetism); Inesthétiques musicales au XXe siècle (Musical non-aesthetics in the 20th Centuy); Études sur la perception auditive (Auditory Perception Studies); Le festin de l'ange (The Angel's Feast) and Amouriner.
Michael Rinn is an Associate in Letters, Doctor of the University of Paris-Sorbonne and qualified to direct research at the Sorbonne. Professor of language sciences at the University of Western Brittany, he holds the chair of French linguistics and stylistics. He is a member of the Center for Interuniversity Research in Sociocriticism of Texts (CRIST) at the University of Montreal. He has published works in textual linguistics contributing to the modeling of genocide literature ("Extreme in contemporary writing" 2007; "With genocide, the inexpressible, 2009. For several years, he has been analyzing articulation news of convincing speeches (The fight against AIDS. Rhetoric of public communication, 2002), theorizing the rhetorical functioning of the Internet ("Cybernégationnismes" 2006). In his current research Michael Rinn explores the use of passions in the language: "Hervé Guibert, son of the Enlightenment. For a rhetoric of power" (2004), Emotions and Speeches, (2008) and Communication of the State and social government. For a perfect society? (2009) Currently, he is writing a book with Josias Semujanga of the University of Montreal on genocide prevention speeches. With Xinren Chen of the University of Nanjing, he is also conducting a research project on implicit discrimination in public discourse.
His current research focuses on deconstructing the virtual, from various objects such as video games, territories ... architecture and art. Besides this deconstruction, are questioned, among others and respectively, the game and its relationship to the world of work, the territories facing the intense development of information transmission networks, architecture also, finally the definition of art, its relationship to cultural industries or the status of the artist ... Her research also seeks to undertake the genealogy of the virtual, according to the tradition of the French epistemological school. Finally and more recently, they have been oriented on the epistemology of modeling in humanities and social science, as well as arts.
Olivier Schefer est Maître de Conférence d’Esthétique et de Sciences de l’Art, habilité à diriger des recherches, à l’Université Paris, Panthéon-Sorbonne (UFR 04). Spécialiste de la période romantique allemande, et traducteur des écrits posthumes de Novalis, il a publié de nombreux ouvrages et articles sur cette période. Parmi ses travaux récents : Novalis, Paris, éd. Le Félin, 2011. Mélanges romantiques. Hérésies, rêves et fragments, Paris, éd. Le Félin, 2013. On retiendra aussi, cette anthologie publiée en co-direction, La Forme poétique du monde. Anthologie du romantisme allemand, Paris, José Corti, 2003. Auteur d’ouvrages sur le cinéma d’horreur, les fantômes et les zombies, Olivier Schefer travaille enfin sur l’art contemporain : il prépare actuellement un ouvrage sur Robert Smithson pour les éditions du Mamco à Genève.
Marie-Noëlle Semet is an associate and lecturer in Plastic Arts (HDR) at the UFR Arts et Sciences de l'Art de Université Paris 1 Panthéon-Sorbonne. She has produced about twenty theatrical scenographies, mainly in Greece (National Theater of Athens, Ancient Theater of Epidaurus, Odeon Herod Atticus, Megaro Mousiki-Athens Concert Hall, Apollo Theater in Patras, etc.). This practice of scenography has guided her field of research on the relationships of the visual arts to the stage. She is the author of a publication named Les plasticiens au Défi de la scène (2000-2015) but also a series of articles published in university journals, on "The staged artistic gesture”, "Three scenographies of Medea "," Epidaurus or the question of space "," The scenography of Matthias Langhoff's Bacchantes "," The animal on stage, like theatrical madness "for a return to the Dionysian", "The visual arts on stage, new mannerism ”,“ Costume as a means of political expression ”,“ The impact of plastic practices on the theater ”or“ The representation of the ancient choir on the contemporary theatrical scene ”, among the most recent.
Hélène Sirven is a lecturer in Human Sciences Applied to Art at the University Paris 1, UFR 04 Visual Arts and Art Sciences. She published an ethno-aesthetic thesis (1994) entitled ‘L’image de l’Océanie à travers la revue Le Tour du monde, 1860-1914. Figures de l’exotisme’ (edited by G. Lascault and J-L. Paudrat). She is a member of Aesthetica, Laboratoire ACTE at Paris 1 University. Her recent publications include: La culture distribuée, co-edited with Nicolas Thély, Paris, Scéren CNDP/Ministry of Culture, 2011; De la vulgarité en littérature. Ramblings on a theme, a new translation of the text of Aldous Huxley (Vulgarity in Literature. Digression from a Theme, 1930), with Matthew Screech (MMU Manchester, UK), presentation by H. Sirven, Paris, L’Inventaire publishers, 2009, ‘Les Jardins topologiques de Bruce Nauman : chambres avec vues en sept jours,' in Le Syndrome de Venise. La biennalisation de l’art contemporain, edited by Bernard Lafargue, Figures de l’art, No. 20, Pau, PUP, 2011; ‘Utopie et vulgarisation des mondes lointains au XIXe siècle,’ L’Utopie. Art, littérature et société, edited by Dominique Berthet, Paris, L'Harmattan, collection ‘Ouverture philosophique,’ series ‘Esthétique,’ 2010; ‘Alexis Harding : Deep Painting. De l’incompatible à l’imprévisible,’ CEREAP review/IUFM Martinique, Recherches en Esthétique No. 15, October 2009, ‘L’imprévisible’ edited by Dominique Berthet. Translations published by B2 (edited by Nikola Jankovic); including Beatriz Colomina, ‘La pelouse américaine en guerre, de Pearl Harbour à la crise des missiles, 1941-1961’ (The Lawn in War: 1941-1961, (1999) (edited by Nikola Jankovic) in Beatriz Colomina. La pelouse américaine en guerre, de Pearl Harbour à la crise des missiles (1941-1961), Paris, B2, 2011; Carol Willis, Form Follows Finance. L’Empire State Building et les forces qui l’ont façonné, Paris, B2 Editions, 2012.
Film professor at the Pantheon-Sorbonne University, he directs the master's program in screenwriting, film direction and production. He has written and directed over twenty books. The most recent are: Pratiques du cinéma (Klincksieck, 2011), Le Fantôme de Truffaut (Impressions nouvelles, 2013), Cinéma et Musique : accords parfaits (co-directed with N.T. Binh et José Moure, Impressions nouvelles, 2014).
Apolline Torregrosa, docteur en Sociologie et Education artistique, est professeure et chercheur en art, design, éducation et sociologie. Elle enseigne dans diverses écoles supérieures d’art et design en France et Espagne. Elle est professeure invitée du programme de master et doctorat d’éducation artistique de l’Université de Gérone et Grenade en Espagne. Elle est coordinatrice et fondatrice de l’Association Culturelle Sousencre, à partir de laquelle elle développe des activités culturelles, artistiques et éducatrices.
Artist-teacher-researcher, Ivan Toulouse is a university professor at Rennes 2. He heads the plastic arts department there and tries to promote the students' independent artistic practice. He is a member of the “Arts, Practices and Poetics” team (EA 3208) and his research focuses on the creative processes and the modalities of thought (and the unthought) that are at work there as well as to functional analogies between art and science. He participated in the ANR CREAPRO project - Empirical study of the creative process in different fields. He is co-founder of the collection "Eureka & Cie" at L'Harmattan, and in particular the author in 2012 of the book Clair-obscur - Essay on creative thought and, the same year, of Decoding the real - Dialogue, with the physicist and philosopher, Pierre Malifaud. His artistic activity involves sculpture, drawing, video without camera and poetry.
Konstantinos Vassiliou has earned his doctorate diplome from Paris 1 Panthéon-Sorbonne University. He is the author of the book Pros tin technologia tis technis/Towards the technology of Art (Plethron Press, 2012) and has edited the reader Techni kai Dimioyrgikotita/Art and Creativity (Plethron Press, 2014). He lectures and pubished on art and cultural theory, subjects that he also teaches in Athens School of Fine Arts.
Having received a Ph.D. in Philosophy from the Paris Descartes University, Stéphane Vial is an Associate Professor of Design at the University of Nîmes (France) and a researcher at the ACTE Institute (Sorbonne Paris 1 University). Previously, he was a Professor of Philosophy at the École Boulle, a famous Paris-based school of art and design. His research is focused on Technology, Digital Age and Design; it has been presented in several international conferences, in New York, Lisbon and Tokyo. His new book, Being and Screen: How Technology Changes the Way We Perceive has been published in French by Presses Universitaires de France in September, 2013. He is also the author of Short Treatise on Design (PUF, 2010), translated into Swedish, Korean and Chinese. Official website: http://www.stephane-vial.net/
With a PhD in Fine Arts and Art Research from Pantheon-Sorbonne University, after study with Richard Conte, Hélène Virion questions the essence of photographic creation. In extension of her PhD thesis, entitled L’instance photographique : Pour une requalification de la création en photographie. She is continuing theoretical, poïetique art-making research in digital images, in the era of manipulation of the real. As an artist-photographer, she develops a suspended photographic form that tends to provoke apprehension (www.helenevrion.fr). She questions its source, as she does the experience that emanates from it, and pushes the subject to the point of the encounter between photographic and cinematographic suspense. She also is a lecturer at Pantheon-Sorbonne University.
After training in Psychology and Computer Science (UTC thesis, HDR Paris VI), he led a double career in private and public research and development (cognitive engineer, researcher in cognitive ergonomics at France Telecom Research and Development). He contributed to bringing “Computer Supported Cooperative Work” (CSCW) research to France by creating, in 1995 with the research group he led, the international scientific conferences COOP on the design of cooperative systems. Professor at the University of Technology of Troyes in 1998, he created the first French multidisciplinary laboratory between humanities and engineering sciences on the problems of cooperative work: Tech-CICO (Technologies of cooperation for innovation and change organizational). Upon his arrival at Cnam, he created with Ghislaine Chartron (Chair of Documentary Engineering / INTD) the Dicen-IDF laboratory (Information and communication devices in the digital age in Ile de France), which he directs. His current research covers the study of social and organizational changes induced by the generalization of digital approached from the angle of document theory (documentarization and documents for action); the design of new systems for the dissemination and sharing of information involving new knowledge organization systems (socio-semantic web) and the search for new forms of socio-technical innovation from the perspective of user-friendliness economies based on the analysis of cooperation processes taking into account the so-called "intangible and relational" activities (semiotics of cooperative transactions). www.dicen-idf.org www.zacklad.org http://communication-culture.cnam.fr/chef-de-projet-numerique-2-0/ http://recolnat.org/ http://www.sfsic.org/