==== Processus créatif en temps crise ====

Projet 1  _ Méthodologie recherche\\
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Enseignants : Cyril Afsa et Martin De Bie\\
Intervenant extérieur : [[https://www.ernestooroza.com/|Ernesto Oroza]]\\
Temporalité : Projet 6 semaines\\

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Silla corregida – corrected chair, 2016. \\  

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==== Notes for a Repentista Manifesto ====
=== Ernesto Oroza, 2020 ===
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====Objects of necessity====
In certain contemporary urban areas the necessity generates objects that look more the result of an unavoidable sedimentation of materials cornered by the wind into the shapes of the city than the result of a productive activity.
Broken metal chairs loosen from a school and plastic chairs, also broken, expelled from a cafeteria, nearly one piece each month, they ramble around the neighborhood until they get tangentially trapped inside a human activity: a security guard, a street vendor, a ruined bus stop, a mechanic having his business on the sidewalk. It happens everywhere at the same time, as if a hypothetical grid formed by all the broken plastic seats in the city fit by gravity with the gridded field of metal broken chairs spread years ago around Havana. The necessity generates a fatal equation that, under similar circumstances, produces the same results. The individual in need will focus exclusively the repertoire of the usefulness, propitiating a conjunction, a harvest time.

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====SNET==== 
==Ref for Team: Marta-Zélie-Samer==

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====INHERENT DISPLAY + TACTICAL DISPLAY====
==Coment for Team: Alphee-Xavier-Adrien==
Following Martin's recommendation regarding communicating and sharing your research with the rest of the school: How inherent could this communicative form be concerning your proposed research?
It is interesting to avoid that the only function is illustrative or didactic. Perhaps the creation of this "document" should be informed by the very material conditions you intend to explore. The display must be inherent. The dispositive used to communicate your research must be informed by it.
What inks, papers, materials in general, and technical and human resources you will use to produce this document? What flows across this dispositive in its production?
TACTICAL DISPLAY is a widespread solution in urgent and precarious situations. A TACTICAL DISPLAY uses the qualities of an object to enhance a message (inherent). The TACTICAL DISPLAY is often a communication object that parasitizes a device created for another communication function or a function of another kind. TACTICAL DISPLAY are generally temporary. Like all communication systems, the TACTICAL DISPLAY exploits the conventions, common knowledge.

====TACTICAL PLACEHOLDER====
==Coment for Team: Grégoire-Léa-Théophile==
A placeholder is a substitute, an element that temporarily replaces another. In contexts of crisis and urgency, the placeholder is the norm.
What political possibilities does a placeholder have? When it temporarily occupies a space, be it a graphic surface, a three-dimensional space, or in a discourse, what potentiality does it enable in its insertion?
A placeholder is, always, a double indicator (index): 
1- It is an index of its placeholder function. 
2- It is an indicator (index, deictic) of the absent thing and its qualities. 
The placeholder is a portrait of the "frame." It frames that which frames him: because of its need for correspondence, it details the insertion context. 
A TACTICAL PLACEHOLDER is one that, in its insertion, contaminates, corrupts, amplifies, or questions space it is occupying. We can understand the tactical placeholder within the logic of collage and photomontage. Its use boost when we employ it in relation to diagrams or thought models.

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==== Group page ====

[[Être à mobilité réduite dans l'espace]] \\
Lea, Théophile and Grégoire

[[Group dynamics at distance]]\\ 
Xavier, Adrien and Alphée

[[Conviviality with digital tools]]\\
Laury, Uri and Leonard

[[Sleeping solution]]\\
Zélie, Samer and Martha