The Myth of Dematerialisation, Sacha Assi & Thalia Kassem, Paris, 2018

Interface et Création

or inquiries on the future of interface design

Course leader



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Things and fields will be looking at...


  • Smooth design versus friction design

  • Speculative and fiction design

  • UX design theory

  • Interface ecology

  • The myths of digital culture

  • From bits to paper

  • Misbehaving objects

  • Super-objetcs

  • Interface prototyping

  • Design Methodologies

  • Heuristics



  • Pais, F. (2018). From Bits to Paper. ABM Editions. Paris.

  • Pais, F. (2018). Le retour des Objets, Quasi Objets et Super-Objets. Fondation Gulbenkian. Paris.

  • Moles, A. (1973). Théorie des Objets. Editions Universitaires.

  • Baudrillard, J. (1968). Le système des objets. Editions Gallimard.

  • Tisseron, S. (2016). Comment l’esprit vient aux objets. Presses Universitaires de France.

  • Bogost, I. (2012). Alien Phenomenology or what it’s like to be a thing. University Of Minnesota Press.

  • Morton, T. (2013). Hyperobjects. University Of Minnesota Press.

  • Saramago, J. (1978). The Live of Things. Verso.

  • AAVV. (2004). Jouable – Art, jeu et interactivité. Haute Ecole d'Arts Appliqués HES, Genève, Ecole Nationale Supérieure des Arts Décoratifs, Paris, CIREN, Université Paris 8, Centre pour l'Image Contemporaine, Saint‐Gervais Genève.

  • Arns, I. (2011). “Read_Me, Run_Me, Execute_Me: Malaise dans le logiciel ou C’est la performativité du code, idiot!”. In ART++. Ed. David-Olivier Lartigaut, Editions HYX, [LAM] Laboratoire des Art et Médias, Université Paris 1 Panthéon-Sorbonne 2011. (pp. 143-153)

  • Arns, I. (2011). Transparency and Politics. On Spaces of the Political Beyond the Visible, or: How Transparency Came to Be the Lead Paradigm of the 21rst Century. In Interface Criticism. Ed. Soren Pold, University of Arhus, (pp. 253-276).

  • Baudrillard, J. (1988). The Ecstasy of Communication. New York: Semiotext(e).

  • Berger, J. (2008). Ways of Seeing. London: Penguin.

  • Bianchini. S. (1996). “L’interface-conscience comme modèle”. ed Catalogue de l’exposition Post-diplôme, École des Beaux-Arts de Nantes, Mai 1996.

  • Boissier, J. L. (2004) La Relation Comme Forme. Éditions du Mamco (Musée d’art moderne et contemporain, Genève) en co-édition avec le Centre pour l’image contemporaine, Saint-Gervais, Genève, la Haute école d’arts appliqués, Genève et l’Université Paris 8.

  • Bolter, J., & Gromala, D. (2003). Transparency and Reflectivity: Digital Art and the Aesthetics of Interface Design. Ed Aesthetic Computing. MIT Press.

  • Bolter, J., & Grusin, R. (2000). Remediation – Understanding New Media. MIT Press.

  • Bourriaud, N. (1998). Relational Aesthetics. Les Presses du Reel.

  • Csikszentmihalyi, M. (2008) Flow: The Psychology of Optimal Experience. Harper Perennial.

  • Dewey, J. (2005). Art as Experience. New York. Penguin Group.

  • Flanagan, M. (2009). Critical Play, Radical Game Design. Cambridge, Mass: MIT Press.

  • Lovink, G., & Garcia, D. (1997). “ABC of Tactical Media”. Retrieved on October 2012, from

  • Lozano-Hemmer, R. (1996). “Perverting Technological Correctness”. In Art and Electronic Media. Edited by Edward Shanken. 2009. Phaidon. London, New York.

  • McLuhan, M., Fiore, Q. (2008). The Medium is the Massage. Penguin Books.

  • Norman, D. (2005). Emotional Design, Basic Books.

  • Dinkla, S. (1994). “The History of the Interface in Interactive Art”. Retrieved on January, 2014 from:

  • Kyrou, A. (2010). Google God. Inculte Essais.