Course Topics
The module provides foundational and advanced conceptual skills in photography and video, and approaches image-making as a relational and situated practice. At its core is the development of individual visual projects that engage with questions of community, encounter, and the relationship between self and others. Through practical exercises, collective viewings, and critique sessions, photographic and videographic strategies are refined and critically reflected upon—from conception and production to editing and presentation. The module encourages experimental approaches, collaborative work, and a conscious, responsible engagement with images within contemporary social and political contexts.

Teaching format
Plenary discussions, mini group sessions, single meetings, presentations

Course Topics
Throughout this semester, visual communication will be approached as a political and relational practice to forge bonds, activate conversations, and cultivate networks of resistance. The course will examine historical and contemporary socio-political practices in which publishing, graphic design, and visual communication have functioned as instruments of militancy, collective organization, and counter-narration. These include f.e. the publishing practices of 1960s and 1970s political movements (such as feminist, anti-racist, and autonomous struggles), as well as more recent work by groups and collectives operating at the intersection of design, politics, and activism, including Futuress, Archive Books, Terminal Beach, and Forensic Architecture, among many others. During the first month of the semester, students will be asked to respond to a series of short assignments aimed at exploring publishing as collective practice; while in the second part of the course, students will individually develop a publication, conceived both as a response to and an extension of the main project.

Teaching format
Assignments, group discussions single meetings, presentations and frontal lectures

Course Topics
This theoretical module is devoted to the question of alterity as a fundamental challenge to modern subjectivity and to the ideology of the autonomous self. The course begins with Emmanuel Lévinas’s ethics of the Other, understood as a radical displacement of ontology by responsibility, where subjectivity emerges as exposure, vulnerability, and being-for-the-Other. From there, the module engages with Jacques Derrida’s reworking of alterity through différance, hospitality, and the instability of identity. These philosophical trajectories are expanded through French literary and artistic practices of desubjectivation, including Antonin Artaud’s rupture of the expressive “I” and Gilles Deleuze’s critique of personal identity in favor of impersonal processes, forces, and becomings. A key component of the course draws on anthropological thought as a privileged site of desubjectivation, examining how encounters with other cultures unsettle Western epistemologies and the coherence of the observing subject, with particular attention to Michel Leiris’s L’Afrique fantôme. The module also incorporates cinema and visual culture as spaces where alterity emerges through the gaze, the body, and non-human agencies. The course concludes by analyzing contemporary artistic practices that engage alterity as a political, ethical, and aesthetic problem, foregrounding relationality, displacement, and the limits of the self. This theoretical module is devoted to the question of alterity as a fundamental challenge to modern subjectivity and to the ideology of the autonomous self. The course begins with Emmanuel Lévinas’s ethics of the Other, understood as a radical displacement of ontology by responsibility, where subjectivity emerges as exposure, vulnerability, and being-for-the-Other. From there, the module engages with Jacques Derrida’s reworking of alterity through différance, hospitality, and the instability of identity. These philosophical trajectories are expanded through French literary and artistic practices of desubjectivation, including Antonin Artaud’s rupture of the expressive “I” and Gilles Deleuze’s critique of personal identity in favor of impersonal processes, forces, and becomings. A key component of the course draws on anthropological thought as a privileged site of desubjectivation, examining how encounters with other cultures unsettle Western epistemologies and the coherence of the observing subject, with particular attention to Michel Leiris’s L’Afrique fantôme. The module also incorporates cinema and visual culture as spaces where alterity emerges through the gaze, the body, and non-human agencies. The course concludes by analyzing contemporary artistic practices that engage alterity as a political, ethical, and aesthetic problem, foregrounding relationality, displacement, and the limits of the self.

Teaching format
The course combines frontal lectures with a participatory and inclusive teaching approach. Weekly sessions will alternate between theoretical introductions and collective discussions based on assigned readings and visual materials. Students are expected to actively contribute to in-class conversations, and to engage critically with the topics through individual or group assignments. The format also includes student presentations, which offer opportunities to deepen specific case studies and foster peer-to-peer learning. This dynamic structure is designed to support both critical reflection and collaborative exchange.