Bérénice Serra French media artist and researcher based in Caen (FR) and Zürich (CH). Her work and research focus on the notion of publication — how contents go public in the digital age. Her projects can be web-to-print books, installations, digital drawings, web based projects, interventions and performances. She releases most of her work under open source and creative commons licences. She teaches art publishing and digital art in Normandy, France. artworks biography and cv research teaching instagram email@example.com
Initiated in 2019, the Laboratoire Modulaire intends to question the notion of "spatialization" by exploring the constantly evolving relationships between digital devices and the design of spaces: immersive environments (sound or visual), virtual reality, augmented reality, crossed reality... Its aim is to design new forms of sensitive interaction within physical, virtual and hybrid spaces in order to create environments, ecosystems and digital territories involving the body. This research will analyze the various perceptual, aesthetic and sociological processes involved in the new forms that our spatial intuitions can take. The laboratory's research is led in partnership with Le Dôme - innovation & sciences lab (www.ledome.info), OBLIQUE/S digital arts & cultures in Normandy (www.oblique-s.org), Station Mir (production) and the festival ]interstice[ (www.festival-interstice.net). Laboratoire Modulaire is supported by the French Ministry of culture (Direction générale de la création artistique). esam-c2.fr/-Laboratoire-Modulaire
The Art and Design Digital Research Unit of the Ensba Lyon / ESAD Saint-Étienne hosts researchers in art and design whose work are linked to digital issues. At the Ensba Lyon, great emphasis is placed on research in the fields of art. Based on the implementation of projects by participants, the RU plays host to a wide range of research subjects that begin the moment that participants become involved with in-depth work on an issue that is linked to digital technology. The RU is ready to incorporate any working hypothesis and invites participants to go “elsewhere than the place where” current digital thinking would seem to situate the issues that arise from the research and thinking. The technical aspect, often important in digital technology, is neither pushed to one side, nor is it a subject of focus. Taking formal, but also symbolic and cultural considerations that are inherent to a digital society into account, the productions that emerge from the digital RU exist in a reflexive relationship with the machine considered as tool, as medium, as basis for study, etc. ensba-lyon.fr/page_ur-numerique
Les qualités diffuses des images « sans qualités », published in RADIAL n°2, edited by EsadHar, 2020. This article presents a short reflection about the production of images by amateurs and the photographed contents subject to copyright. An analysis of the plastic work of the artist Daniel Buren allows us to observe the close links between artistic practice and copyright law. This paper emphasizes the importance of addressing the changes in copyright law concerning images through creative work.
Swipe ou l'écriture tout court, written with Gianni Gastaldi, published in Formules n°22, edited by Les Presses du Nouveaux Mondes, 2020. Virtual keyboards using the principle of gestural text entry, developed for touch screen smartphones and tablets, allow the user to write by sliding his finger from the first to the last letter of a word. Thanks to a predictive text system, this type of keyboard can reach a writing speed of forty words per minute. In the critical context of the use of computer tools, which is embodied in observations or fears of weakening language (bad spelling, invention of jargon, etc.) or the disappearance of handwriting, the Swipe project, developed by Bérénice Serra in the field of visual and graphic arts, proposes to highlight one of the effects of this digital device: the graphic enrichment of written language. While the use of the Latin alphabet circumscribes the composition of the language to the use of 26 symbols, the gestural text entry allows - if we consider the gestures performed by the user and not the words displayed in the dialog box - to generate for each word a new sign.