Pen

Collective film (1’56s, 2016).

From the end of the world, from the end of time, crossings on a terrace.

Collective film (4’22s, 2019).

They lost, or they won, they testify atypically.

Collective film (0’54s, 2019).

How do we find good reasons to leave and fight?

Collective film (2’48s, 2018).

Lost things, between the city and nature.

Collective film (4’32s, 2020)

When images and objects close to the body lead to shared collective memories of important moments.

Collective film (3’10s, 2019).

A revolt of objects against the Internet and its uses.

Collective film (4’25s, 2017).

Small depresses of the everyday objects.

Collective film (1’45s, 2020).

Harassed or stalker, how the functions lock each other up.

Collective film (2’14s, 2019).

Assuming self-image on social networks: not so easy!

Collective film (4’37s, 2019).

Intimate testimonials of objects that feel lonely or abandoned.

Collective film (4’34s, 2016).

In nature, objects share their digital experiences.

Collective film (2’28s, 2017).

Objects, which we imagine have been incarcerated, share their experiences.

Collective film (6’15s, 2020)

Like a little story of writing and looking, from paper to screens.

Collective film (3’27s, 2015).

In nature, objects sing to give themselves courage.

Collective film (2’55s, 2020).

When objects share their experience of deconfinement..

Collective film (7’30s, 2019).

Digital things whisper their existence in our ears.

How can technologies help us think ? Focus on video to mobile phone. Discussion between Serge Tisseron and Benoît Labourdette.Serge Tisseron, a psychoanalyst specializing in images and robotics among others, offers since September 2017 a weekly (...)

Blaise Pascal (1623-1662) was a philosopher, engineer and mathematician of genius. Among other major scientific and philosophical advances, he invented and built the first mechanical calculating machine in 1645, thus laying the concrete (...)

Workshops related to images, cinema, photography, animated films, but also writing, offered at cultural events to “passing” people. How to propose a requirement of creative quality, even in a very short (...)

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