José MOURE, Paris 1 Panthéon-Sorbonne
Catherine CHOMARAT-RUIZ, Paris 1 Panthéon-Sorbonne
Giovanni ANCESCHI, Facultà IUAV di Venezia (Italia)
Ruedi BAUR, Agence IRB (France)
Andrea BRANZI, Politecnico Milano (Italia)
Peter DALSGAARD, Aarhus University (Danemark)
Paolo DEGANELLO, Architetto e designer (Italia)
Paolo FABBRI, Università di Urbino (Italia) †
Alain FINDELI, Université de Montréal (Canada)
Pierre-Damien HUYGHE, Paris 1 Panthéon-Sorbonne (France)
Timothy INGOLD, University of Aberdeen (Scotland, UK)
Wolfgang JONAS, HBK Braunschweig (Deutschland)
Pierre LITZLER, Université de Strasbourg (France)
Christian MALAURIE, Université de Bordeaux-Montaigne (France)
Alexandra MIDAL, Haute École d’Art et de Design – Genève (Suisse)
Françoise PARFAIT, Paris 1 Panthéon-Sorbonne (France)
Sophie PÈNE, Université Paris Descartes (France)
Antoine PICON, Harvard University (USA)
Zoë RYAN, Art Institute of Chicago (USA)
Franck VARENNE, Université de Rouen (France)
Claire AZÉMA, Université de Bordeaux-Montaigne
Christophe BARDIN, Université Jean Monet, Saint-Étienne
Gwenaelle BERTRAND, Université Jean Monet, Saint-Étienne
David BIHANIC, Paris 1 Panthéon-Sorbonne
Pierre BOURDAREAU, Université de Bordeaux-Montaigne
Ambre CHARPIER, Paris 1 Panthéon-Sorbonne
Michela DENI, Université de Nîmes
Claire FAGNART, Paris 8
Maxime FAVARD, Université de Strasbourg
Sophie FÉTRO, Paris 1 Panthéon-Sorbonne
Victor GUÉGAN, École Supérieure d’Art et de Design, Orléans
Nolwenn MAUDET, Université de Strasbourg
Aurélie MICHEL, Université de Lorraine, Metz
Vivien PHILIZOT, Université de Strasbourg
Anne-Lyse RENON, Université de Rennes 2
Kim SACKS, Paris 1 Panthéon-Sorbonne
Antonella TUFANO, École Nationale Supérieure d’Architecture de Paris-La Villette
Editorial line and sections
Design, Arts, Media is an online journal whose ambition is to question these three practical-theoretical domains by considering them separately or, better, in the frictions they maintain. This means that it does not intend to restrict itself to a particular field of design, arts or media. On the contrary, it encourages a comparative entry into the issues raised, and remains favorable to any multi-questioning and
transdisciplinary subjects. This openness is also measured by the fact that, as a Francophone journal, it nevertheless hosts articles written in the authors' original language.
Design, Arts, Media remains "two-sided" because, depending on the headings, it operates in an academic or more flexible manner.The "Thematic Issues", which appear at the rate of one or more files per semester, are made up of a "Call for Contributions" to which proposals respond. The selected proposals give rise to an article which is then submitted to a double-blind reading.
"Criticism" includes reviews of projects, exhibitions, books that arrive at the whim of events and editorial news. Criticisms may, however, concern works that find a form of actuality.
These articles engage their author in a personal way and are not evaluated. They are simply subject to the approval of the Editorial Board.
" Author’s words" is a topic intended to publish interviews (written, possibly filmed) and lecture cycles (filmed possibly written) in order to share and promote the work accomplished with the community of researchers, professionals, students of amateurs interested in design, arts or media. Their publication is only subject to the approval of the Editorial Board.
"Varia" hosts articles unrelated to the current Thematic Issue, evaluated or only submitted to the Editorial Board. They are evaluated when they come from experienced researchers. They are not evaluated when they have been explicitly written, with the help of a teacher or thesis supervisor, by young researchers. The section also concerns artistic, or design, productions, put into images and contextualized.
Design, Arts, Media wants to be accessible to all, therefore free. Its purpose is to constitute a kind of editorial common. It depends on the investment, free of charge, of the editor-in-chief, the members of the Editorial Board, the Scientific Council and, first and foremost, the authors who entrust their text to it.