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Edito "All life is to become a work, which involves the movement. " An invitation

After "Education in a Changing World," here " Art and Education . These workshops were developed over a week aims to provide an initial response to the question two years ago.

is indeed in the first period and the reference to " the work that creates " that this new thinking, conceived as a process, intends to go beyond the formal framework of a symposium.

How indeed think the relationship between art and education without first trying to live in a creation that accepts and collects along the sides of an adventure living?

This adventure, we just live in the premises of our institution, a team mobilized to dig the foundations.

Join in the changing world, is it not first be put in motion ?

This methodological choice is justified as well by the dynamic nature of the object pursued.

"Art and Education", a notion that is done in their reports, they have not this first effect of sound on each other as a call to freedom ? Against the dogmas of the technicality that invade our field of culture, creativity does not it stand as a carrier in itself meaningless, that is to say humanity?

The days that we offer are first conceived as moments of encounter, sharing and exchange between those who in one way or another, will "present" a particular object of a significant expression of both formal and free - and those, professional and non-sector but concerned with educational issues, invited to question them and to question the relationship of these two terms.

these days and will seek, through exhibitions, presentations, testimonies, debates, to show that, as all life is destined to become work, education itself is irreducible to the packaging that it is still too soon tried to reduce it. At the heart of education and underlying mediations that characterize the individual and collective expression remains the guarantor of the humanization and the subjectivity in the implementation of which we are engaged.

Such is the case in defense of which we invite you.

Under the sign of art - not as an object shop - but as evidence of a dynamic as old and as new as man, please no other cons that part your presence and your free commitment.

As players these days have agreed to donate their time and creativity to support rating momentum, we are even free these days in the service of your participation.

this sign, everyone understood that, if we refer to the art does not refer to art that is sold but art that is is that our reference to Education does not refer to a system but more a swing!

M.-C. DAVID

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forcing you! Ask the program

"Only the total price is a gift" L. Ott

Would we, in this modern world and mercantile alternative but to seek "pledge" to those who wish to join us, to be assured that they will really?

As everyone knows the "arts" are not refundable.

art and education, consumable items like any other tradable on the market and traded tomorrow? The value of commitment is measured does the outlay?

We argue the opposite and that is why we chose this week will be free for those who will participate.

A consideration: the mutual commitment:

- the creative undertake not to be paid

- EFPP committed to the organization of the week

- you agree to respect your reservation.

We will tell you later how your registration.

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Tuesday, June 24

9h00
9.30 Opening
10h-12h through art and education: Prelude, impromptu and variations on the theme of the existence of affinities approached by Alain BOUILLET.

14h-16h The trailer to paint, Sophie NEDORESOFF.
14h-15h30 Achievements plastic CITL Stéphane Brégaint.
14h-15h30 Illumination autism, Henry BOURAOUI.
14h-15h30 The fashion RSA
14h-15h30 storyteller, illustrator, comic, Nicolas BRANCH.
14h-15h30 Tour Expo Enter Matter, Catherine Bailly.
14h-17h ZIGZART The collection of the Pompidou Centre, Elizabeth AMZALLAG AUGE.
15h30-17h Adamesque Adam NIDZGORSKI, H. and A. BOURAOUI BOUILLET.

Wednesday, June 25

9h-16h Pedagogy artistic publications CRDP, Dominique ABADA.
9.30 12 Painting multiple Catherine Max MARTINEAU.
9.30am-12pm STORY in Action - Adventure Tale, Claudine Lilhaud Loyat.
10am life or my heart in the stars, reading, HERV-LUC
10:30 to 12:30 Cultural Project in CHRS, Joel Sigot.

14h-17h textile paint, Adam NIDZGORSKI.
14h-15h30 Writing as a teacher at Grand Ecart, small notes in the evening after class, Agnes FORETTE.
14h-17h wire animals, and E. C. Boissiere GALMICHE.
14h-17h Word and paint AEMO
14h-15h music awareness, Carole Martinez.
14h-15h30 Editions Reading is from Vincent Safrata, social editor.
15h-17h Film and discussion: Fugues prison, Yanusz MROSOVSKI.
15h30-17h Awakening Music, Carole Martinez.

Thursday, June 26

9h-10h30 From occupation to passion, indifference to the recognition, Bruneau GERARD
10h30-12h aesthetic manifestation of the subject, Alain GILLIS

14h-15h30 Storyteller, illustrator, comic, Nicolas BRANCH
14h-17h Dare: Learning to unlearn in the pleasure of the act, Bruno GERARD
14h-15h30 Tour Expo Enter Matter, Catherine Bailly.
14h-17h. Movie "The flying men of Joel." Interview with Alex and Yehiel RABINOWITZ CROSNE.
14h-15h30 Film and discussion: home life, Hervé-Luc Van de Weghe, Director and Didier DUMONT, Director.
14h-1 6:30: Short films Theatre Workshop of the experimental school Bonneuil, A. FOULLY, V. Poton and F. JOURNO.
14h-17h The company of great people
16h life or my heart in the stars, reading, HERV-LUC.

Friday, June 27

9.30am-11am Children's workshops, smooth transition between home and school, Anne TOURMAYAN.
9:30 to 10:30 Prints, CITL Fontenay, Caroline Gutierrez and Valerie CALMELS and users.
9:30 to 12:30 Dance: the setting in motion the speaking, Patricia VALLET.
9.30am-11am children marveled, Paulette CLAD.
9:30 to 12:30 Interculturalism, Editions Didier Jeunesse, Michel Moreau
9.30 12 Painting multiple Catherine Max MARTINEAU
9:30 to 11:30 Workshop experiential games musical group, Jean-François De FAYS

14h A poetics for Education, Jean-Pierre BIGEAUT

Saturday, June 28

9am-11am Roundtable with A. BOUILLET, Conclusion of the week

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About the speakers: A. Bouillet

Alain BOUILLET

Professor at the Universities of Paris X-Nanterre and Paul Valéry (Montpellier III), Department of Educational Sciences, has devoted part of his research in "sensitive" and that 'Education in sensitivity. Several publications attest to this work and, more particularly the No. 17 of CERFEE Review: "Looking for an education aesthesic: basics, affinities, issues . "Paul University - Valery - Montpellier III, 2001, 263 p.

Alain Bouillet is also committed to the defense and illustration of art brut, a concept whose invention in 1945, returned to the painter Jean Dubuffet. As such, he is the author of numerous articles on the relationship between art and education, text books or authors on several art brut (Abbot Fouéré, the Hermit of Rothéneuf; Martha Grünenwaldt; Andre Robillard, Henriette Zephyr, etc..), and the director of No. 53-54-55-56, July-December 2004, the journal of Ligeia, devoted to "Become outsider art."

Alain Bouillet introduce the proceedings of the symposium with a lecture in which he proposes to examine the multiplicity of reports that can be forged between art and education, emphasizing an approach that both areas can benefit from the cross of reflections unique to those it. How has the education and training can they resonate with - or be pollinated - the questions posed art and artists? That art (and artists) can they remove reflections are trainers and educators about the transmission? Ultimately, it would be inappropriate to speak an art (or art ...) education?

Present throughout the conference, he will also attend the roundtable, which will close it.

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About the speakers: JP Bigeault

A poetic ... Educational

And if education, testified that in his day the man of Lascaux, the work was invisible, the hidden source from which arise still so moving the murals?

The man who paints is a man who became man. But the man who built his fragile consciousness already went through the brush with which he paints a face: its human face!

What happens to all children of the world and every time we arrived each day we try to grow again. This movement of hope against fear, light against the evil part of the shadow, the movement of knowledge, driven by desire and fear, just extend our birth, is it not that one even leading educator to paint, sculpt, singing rights in that it educates as more or less secretly, in itself?

Irreducible to its technical nature, like man, his "subject-object" educational needs, today perhaps more than ever - a poetic. How poetic?

J.-P. Bigeault

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About the speakers: A. About Forette

Agnes Forette is art teacher in vocational school, a random mutation, she found another place, another population, that of school youth in REIA. It was is another world, another universe where the teacher has to reinvent the very meaning of its own action.

To achieve this, she looked through the script to find ways to express what is going on: who are these people? What are the issues which in turn infect or develop what was supposed to being a mere teaching time? Whether it happens in this encounter, the relationship between a teacher and older adolescents who, in different places are a little experience of relegation common?

Night after night, the act of writing to describe what had been experienced the day has become something of a survival operation and research through writing?

By intervening in EFPP during the week Art and Education, Forette Agnes wants to share some of these texts necessarily speak to educators: the strangeness of others, fears that invade us, the unexpected resources that we discover in its subjectivity.

The response

A Forette therefore propose a reading of some extracts with a testimony, questioning and debate the report.

It may be helpful to read his book: Agnes Forette, splits, small notes in the evening after class - The echo chamber. 2008.

Questioning on Art and Education

1 - How would you describe yourself: Artist? Educator? etc.. Why?

I define myself as an "artist" since that was my training and practice where I work with text and image, as a discipline. As part of my teaching profession, which I came by chance, I give much room for education than teaching, both of which are, given my audience (teenagers in high difficulty attending public institution adapted), indivisible and in constant interaction.

2 - What would you like to "pass" or "pass", etc.. to during this workshop? And how do you intend to do it?

This workshop will expose the possibility or necessity, in a classroom, to consider its position within the group, as part of the group, while occupying a special place; openings and the limits of what can or needs to play itself, when you teach / educate, to be interacting with the group and the individual, without becoming intrusive or override its function.

I want to read some selected texts of "Great Gap", and then interact with the listeners.

3 - What forms of participation seem to you does it essential (or: what forms of participation do you expect) from the people who will attend your workshop?

Hopefully the usability and freedom of speech in trade.

4 - What do you expect for yourself from this experience?

"Big Difference" was born from the desire to share experiences of class, particular moments or singular which normally take place behind closed doors, hard to describe succinctly. I'm curious gaze of future educators, professionals and various relatives of those I meet in my hotel.

5 - you think what you propose in this workshop is there: From Art? Education? or, perhaps, both? And what do you think?

This workshop is educational, since it will be like in the book to evoke any what can happen in a classroom (Applied Arts), when there is no question of the course (Applied Arts in parentheses).

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facilities: Elodie Galmiche and Celine Mitsch

"All the arts are like mirrors in which man knows and recognizes something of himself he did not know" - Alain

Like this quote, three works, three worlds, three looks borrowed from the realities perceptible artists will confront future direction, feelings and creations.

Each in their way will support information and provide a record of events of the week Art and Education.

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Installation No. 1: The effect mother / mothers Fairies

Effect mother / Fairies Elodie mothers and Galmiche Celine Mitsch

This facility is the result of a reflection on the construction of the educational relationship and the process of artistic creation. These two concepts may seem remote, however, we see similar in their layout. Winnicott and Lacan attempts to tell us that "it is because we care, we caress our skin makes us feel we look, we smile, we talk, we show our face in the mirror as we reach humanity. " The teacher education is in its relationship to relate socio-educational outreach included in temporality. The educator helps people in need in developing their capacity for socialization, independence, integration, and integration based on their history and their potential psychological, physiological, emotional, cognitive, social and cultural. It is this other which helps us to exist and to understand, to deconstruct and construct and is one that allows and prohibits that which creates and restores. It is as an artist who "meditates on the" what "and meditate more on the how. The "what" remains the domain of sense but the "how" becomes an idea. "(Steiner Rudollf). The artist considers the "what" is borrowed from the reality perceived by the senses , and it relates to appearance while the "how" is the form that the artist gives the implemented to overcome nature and to get what she herself is not able to achieve. The how can meditate on how to do the technique, the "how" expresses a part of the artist.

We thought the facility to the relational image of this cave where the "what" and "how" would be two different worlds, an interior and an exterior audible differently. The "what" keeper of the interior, intimate and personal universe, including where and containing pictures and quotations would recreate this space mothering, secure, oppressive. And this would give outside to see the interior through a readability behind. Just like this mother archetype "maternal hands, wonderful hands. Never rest, do not refuse ever, struggling and act to end "this den of relationships, this womb, this refuge of meaning and imagery will be the receptacle of events of this session and Art Education.

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Installation No. 2: The lesion (link) to the illusion

of the lesion (link) to the illusion of Elodie Galmiche and Celine Mitsch

"Am I as I believe to be or as others think I am. Here's where the lines become a confession in the presence of my ego unknown and unknowable, unknown and unknowable for myself. Here is where I create the legend wherein I bury myself "(Miguel of Unamoumo) "

We thought this installation image that can be played in the educational relationship as in the creative process. Like what is immediately present to us, to our thinking, our body. From what is visible and what is seen in the proper sense, a reflection, a shadow, an image. From this picture as sensible form of an object, person, a feeling which is likely or that departs. Because what we perceive as opposed to the reality that escapes us, this facility as an individual who is never identical to itself, which exists only in the movement that is different from oneself and that is constantly changing. Our thinking is based on this fleeting moment, during this meeting the educational relationship as a creative process, where we will perceive the other, where else will deliver. This facility will report on various meetings at the various events of the session and Art Education.

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Installation No. 3: historicizing

The historicizing Elodie Galmiche and Celine Mitsch

The experience is conscious, he gives directly, without intermediaries, in contrast to what is considered unconscious. On the other hand, the immediacy refers directly to the emotions, because the own feeling is arising in Oneself in the qualities that the heart feels.

We live in a society of performance, competition and production, an idealized society that leaves little room for error and oversight. Mastery and control are the watchwords tested in all areas, family, social, professional, so that any omission becomes real obstacle, causing a flood of doubts about the health of our memory.

Citing overuse of everyday life, some flock to ingest the "wonder drugs" meant to fill a disability, often unaware that these "failures" are other reports that the strong manifestation of our mental life . So rather than fight against them, why not listen to understand its meaning?

We thought the facility to the memory image of that which would be necessary to us, jostling our individuality in the form of speaking unconscious to consciousness. This facility will be like this memory that we historicizes or color photographs will also realize a memory event of workshops in this session and Art Education.

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About the speakers: P. Vallet aesthetic approach to training and education

aesthetic approach to training and education

Patricia Vallet

Trainer at IRTS Montpellier

1011 rue du Pont Lavérune, 34077 Montpellier Cedex 3

E-Mail: bouloumagalma2@yahoo.fr

ABSTRACT. In the current training in education, very focused on competency frameworks and the pursuit of efficiency, can we open a different perspective from the aesthetic paradigm proposed by N. Heinich? Because the foundation for educational practices touch on subjects, it is necessary to deliver training to question the ideals and representations. It is a poetics of disruption that I moved, the art of upheaval crack prebuilt and gives speeches to see these other professions ...

KEYWORDS: aesthetic paradigm, worker training social sensitivity and intelligibility.

The current training of education professionals: Logic Skills operational thinking and denial of the puzzle.

As part of initial training for teachers and educators, we are a the obligation of a strong reference to the logic of jurisdiction, and we must we refer to benchmarks that determine craft a repository of activities describing the functions of professionals, and a repository of skills based training device according to a list of skills to ...

The notion of competence means a whole system of values that we will try to analyze here.

Underlying this new approach to training can agree to some form of packaging behavior for their effectiveness and the idea of a clear transmission of know-how carefully circumscribed around certain activities and the professional future will be perfectly centered on participation in the action, the concrete, the need to "do" to find ways to solve operational problems using methods and techniques ... every problem can be tackled, managed and resolved through "skills" in an ideal of transparency and efficiency.

This reification of the training process based on the idea of a future professional coherence and consistency, will gradually accumulate the means of power over oneself, one can act.

This utilitarian perspective looking at the bottom to reduce the amount of uncertainty inherent in our complex functions, by defining a priori activities and skills that make "good business", and bringing together training logic and logic of production ...

This model may shed light on his interest in technical training in the world of production industrial, but it does not seem the most appropriate in the relational field formations that affect us ...

Indeed, the reality of our business is always more complex than the models, and can thus be completely preconstructed ; It is basically a certain amount of shade, It is discreet, sometimes not visible, not detectable in concrete terms, it is difficult from this repositories of skills if they are focused on the visible activities of professional ...

And the initial training is not a wealth of know-how to acquire but a transformation of being a subject and a future. Learning and skills are useful but not sufficient, and training results from a process rather than a device, hidden by this type of schematic and orderly ...

design What about training?

The identity transformation into play for each student, in his report to the institution, its relationship to power and authority, its relationship to knowledge, its relationship to another, his report using, learning and so on. is absent from this perspective Basically, it's inherently subjective dimension to training that may be obscured by this model of rationality ...

My concern about this development is that the public and will meet future professionals are increasingly suffering in question, several difficulty levels, and they should be accompanied by educators that are sensitive, attentive, who have crossed these dimensions of complexity and mystery in the encounter, to face them without danger ...

Gold training "while full," which fills knowledge and know-how, may well leave them unprepared to situations of uncertainty, although embarrassed to engage in intersubjective.

So for me the training must remain a process that involves the construction as well as the deconstruction of knowledge acquired, for a thoughtful and creative adjustment of future professional situations difficult, complex, they will encounter. This perspective fits in a certain conception of clinical training and education is not new ... But E. Enriquez said ² three major sections of the managerial logic with which we currently deal: First, "You're overwhelmed ! "Secondly," You resist change! "Third" Be realistic! "

But there is no world outside of the representations that you have, the reality is a psychic and social construction and ideology is not absent from theoretical guidelines describing the preference . The view that one chooses should not overshadow all the others or is the risk of a closure that leads to the dogmatic belief rather than towards knowledge, towards more certainty than to the questioning.

Devereux said at the time how important it is that the researcher questions himself before you even look at his research subject. And personally I would like to place here at the clinic and aesthetics, my project is located on the side of phenomenology (phenomenology of psychic movements at work in forming the subject from my daily observations of trainees) , philosophy and psychoanalysis, a complex human dimension of creativity and research are included at the core of this project. Opens the ethical side of deconstruction (not destruction) and displacement, less concerned about the training content as by the psychic dynamics across subjects training. The aesthetic component seeks to articulate it the sensible and the intelligible in the project to educate. ³

In terms of training and education, there is no objectivity, only partial views, interpretations. Multiply the angles of view, no part, reverse shots, background for a better view!

P o another approach to training and education

At repositories competit (apportionment?) That invade all the training on behalf of a improved profitability, a principle of "realism", can we then requestionner the direction of training in terms of other values? If we wanted to train writers capable of inventiveness, creativity in the game?

The emotional closeness that I maintain with the object of research does he not risk disturbing the scientific rigor expected here? But is it not also admitted that objectivity is a fantasy science which must be disposed of, without abandoning the logic of argument and evidence? Breaking with the scientific and standardized cold, here we dare give full value to the practice and experience to promote the "interpretative thinking" and innovative knowledge to emerge from that sought harmony between subjectivity and objectivity ...

aesthetic paradigm ⁴

"When you do not reduce the aesthetic doctrine of the Beautiful but they described as the doctrine dealing with the qualities of how we feel (...)

The concern is one of those areas. " ⁵

And if you saw this issue differently? Toward aesthetics? Of poetics? The art of training ... These views could they ask otherwise our epistemological horizon?

The smugglers of these strange lands (especially contemporary art) opened another thought possible, which is not perfect, normativity, formalism and efficiency at all costs, but leaves room movement, the unpredictable, the unseen, the unknown, to meet, invention, creativity, and it may interest us because we know that science education lean towards the arts in education.

And as Nathan said Heinich knowledge of art encourages them to make trips that affect the exercise of thought. My assumption in this work is that "the aesthetic paradigm" opens new perspectives for thinking about the territories that may be larger than the only artistic production, and could afford to work the common representations that we make Training and education. Move in that territory can open our frames of thought and promote a different perspective and other perspectives basis for our work.

Why an aesthetic education and training?

Because the values, the foundations of the poetic act or act choreographic ⁶ , photography, painting etc.. are often close to the essence of what I'm looking forward to training, our job coaching and education.

Where? What sign?

If aesthetics is the study Effects of a text or a work on an audience, and the poetic (Greek poiein , how) the study of manufacturing work, from the producer side, we could say that ' implement training " ⁷ and education can be approached on both sides. This will involve both identifying the principles, origins and epistemological models "at work" even if the aesthetic dimension is here detached from the production of lumber identifiable as such. And also to use the poetic stimulus to approach the training process as poetic a disturbance revelation of new and provocative way to subjective involvement.

other words, aesthetics is conceived here, not from the doctrine of beauty, but as thought experiments emotional and sensitive, it is also "aesthetic attention" ⁸ attention as aspectual oriented interests us, and poetry is not heard as to the time of Aristotle as a collection of rules or precepts, but as the field where the dominant feeling, its purpose is both side of the act, knowledge and affect, and I try to show what can touch the subject in its training process, between feeling and do.

1. From obviously necessary

The training is often some confusion with the teaching, learning as knowledge, and possibly know-how and know-being. We're here with a view to acquisition, accumulation, " ever!

Could we consider another movement, just as essential in training who would go to a little less!

That is to say a movement of disengagement, of abandonment, where people work the already-there, agreed, already thought to go to something else. This is to undo some of the ideas, representations, designs frozen for more open to uncertain shores, where the certainties begin to move, relativize knowledge, beliefs articulated with questions and doubts, and all the baggage conceptual and methodological service would come at a meeting that occurs primarily from the point of emptiness, openness to others that it leaves large square open field ...

As in the dance where he is opening new perspectives from a work release clichés ("Die your shiny skin!" Ingeborg says, "I removed the package!" you t wrapped up in your ways like a spider's web "it is not your game, you do not believe" we must get wet a little more "), trying to dig a little habits that we started to this point gap that constitutes us, and we launch into the unknown of the artistic gesture or gesture towards the other to respect our functions Cover.

Let's start with this need for abandonment of work to go to this point obviously necessary, indispensable if something really happens in the encounter that can happen. Growing this opening that opens the world of emptiness, with whom we work and who is ultimately our fulcrum.

Let's start with the need for a laissez-faire, more than a doing, a letting go more than an outlet, a choir, a falling motion than a control .

all starts with the work of abandonment, of dispossession, to nothingness, to the vacuum itself and for something to happen.

Gelassenheit This is "a fundamental human experience teaches that to find its ground in the absence of soil, to rest in the absence of any support to regain its be at the forefront of its annihilation. " ⁹

This requires training to be, to let the work of training, instead of wanting to" do some training, and do battle with certain ideals . Indeed, one of the foundations of training job is to dig the ideals of respect for him to understand something of his motivations for the exercise of the profession, and to mourn its full power without collapsing ; accompanied introspection can allow it to develop its position and aims to integrate "Harmony" of his inner demons, his "internal public, if one accepts the idea that at the foundations of career choices in education and education is still" a double component of professional identity, both restorative and sadistic. " ¹⁰

As I learned in the world of contemporary art, I practice in training: it is a patient work, discrete, dull, but essential, filing, roughing, buffing ideals as a sculptor, I work remove, I can help clear the slag, to undo the habits of gangue, decoys, early representations of the ideal of "good" professional.

2. Great place to make the elusive and otherness

demand people who come into training, and often also for future employers, is a reliable demand for content, knowledge and points of benchmarks that would stand to acquire knowledge, skills essential, basis of a professional identity recognized as valid! They ask "how to do well, how to deal with violent youth, suicidal, delusional, how to deal with incest, how to prevent child abuse, etc.. "

This application must be heard, considered, understood, but it should not respond too quickly in terms of revenue and solutions that work ... Instead demand in favor of a derailment of drift ... identify anxiety, of course welcome, but then offering other forms and directions; is a joint development, creative direction, but also new.

And just as the artist opens permanent confrontation with the unknown, still stands on the alert, unhinged not to wear, our training provoke Training beings out of their thought patterns and more spontaneous, it's the same position as porter, ready to engage against sleep habits, cons modes, cliches, speeches overrated.

is a poetics of disruption that I moved, an art of upheaval that the crack prebuilt speech, breaking with the ideology of a static truth but it is a threat to the stability of sense of identity that must be taken into account and support, when the ego is facing a radical change in the psychic economy of the subject. This metamorphosis of reality on which we advise (impose?) Leads on loose earth and dangerous, where he did not necessarily want to go explore ...

And this we also send some poets who tried to approach this point of indescribable and impossible, "we must return to the inexplicable" wrote Kafka ¹¹ . Act and poetically is possible only one who was stripped of some illusions that crossed his ideal starting to come closer, close to the reality that some things remain unexplained, want to stop any streamline and explain, and if these words speak to us is that we can implement this part of inexplicable to our support functions, the human being carries him that part of that mystery and otherness at the same time disturbs us and makes a deeper, and it defeated the idea to help him at all costs by trying to understand as we move forward together towards a unknown more promising.

3. Trials, errors and wanderings

or "prefer the thinness in the fullness" ¹²

As we have seen, the aesthetic paradigm takes the opposite postures usual, it is an ongoing effort to fight against conformity, stereotypes and dogmas of the moment, this work is ours, if we consider that our project is to accompany the student to building his own professional model and not to impose the yoke of some techniques "ready to ask" so far, it is also initiate at a certain professional culture, certain values, some language middle, and is founder of the aporia that our place is in both a normalizer and emancipatory project.

Our job Hameline said, is "an earth and a tightrope" ¹³ that is to say he does not fear the action, located close to the ground of reality, and at the same time he is on a wire surrounded by many dangers: the danger of his desire to hold on the other, risking the normalization of the other, the danger of being dragged by the massive transfer of which it may be, at risk of falling into the methods and techniques for reassurance on his "to do", Danger of desperate remedies Knowledge when you feel helpless too.

"It is never here and it's better to know" ¹⁴ still says Hamelin.

is working on a razor's edge as the misfires is permanent, one is assured of nothing.

Mireille Cifal reminds us in his own way also: "Basically, if the end is still uncertain, the success is not enough, however predictable from the outset, disappointment and helplessness are the beginning. " ¹⁵

We are moving in the fog and the ongoing trial and error and this position is uncomfortable or exhausting! Provided the poets with us ...

is a call to the test, the measured movement (less than gestures for more movement, "said Ingeborg! Less agitated gestures that are displaced and many noise for more quality research in motion and just weighed), modesty courageous, then the infinitesimal, the tenuous, but the attempt without waiting for a definite result, an expectation which would almost (!) To itself, only by the scope happen might be a possible and uncertain.

4. Articulate intelligibility and sensibility

This leads me also to aesthetics, is the importance in our businesses to sharpen our senses; aesthetic attention, it is this presence, This acute sensitivity, this "perceptual activity intense and rigorous" spoken G. Genet. ¹⁶

The fineness of observation, the quality of a sensitive listening attentively to the speech below, the ability to sense tiny movements in changing groups, recognition of emotions that run through us, welcoming the embarrassment and the possibility of being touched by him, all that I feel should be refined in the training of future educators and anyone working with others, entered into a relationship.

Furthermore, we know that aesthetics is what leads us to the beautiful but also to the ignoble, the disturbing the terrifying, the immoral, the impure, etc..

And in our business future educators will encounter hardships: assault, separations, breaks and repetitive violent relationships, feelings of destruction, disillusionment, fragmentation, erosion of the cohesion of the self ¹⁷ . The training must work their sensitivity and ease their professional personality promised to important breaking. The analysis of practices in training seems "conducive to train people living and conscious professionals, who are not too attached to their ego, but know enough to make it a working tool and exchange. " ¹⁸

5. The work of the language: " of dialects in the sewing room" ¹⁹

is finally the idea that the conceptual language, formal and scientific Humanities not enough to speak of our duties, and that he would one that is closer to that act small, often impalpable, part in the encounter with another, there is a beyond that can not be described always envisioned but, speaking of bias, no doubt, by metaphors, digressions, etc..

"From dialects to the sewing room" is that we are workers of the word, we must open the dialogue beyond the conventional discourse, work task speech knowing that the language is fragile, that exchange is uncertain that our hard work they do not suffice. To each his style of carving ...

In conclusion, it seems to me that we could draw like a waltz or three time steps in the process of training and coaching:

the first time, an invitation to travel, opened the formative relationship, as Genet said: "It was of aflame, not to teach " ²⁰ . The person who comes into training expressed most often from a career plan based on a desire to understand and especially to learn, a willingness to learn and a good image of its constrution needs connaissanceset skills, we will be brought to play the "troublemakers to idealize in circles, move its performances to allow it to confront its flaws, its failures and out of this quest for rational explanation. It's time for disenchantment!

This work of deconstruction is not without souffance and must be accompanied with sensitivity, we offer this space-time as the promise of home, sleep and presence, enabling the subject training to withstand the shock of his narcissistic foundations, and to endure this journey into the unknown. Reflections discussions and shared thoughts opacity work to bring out some lights ... It's time to coaching.

Finally, it is for us to cultivate the art of dodge: to approach the time of separation after undertaking our living presence, it is time to disengage to avoid modeling and allow the person to move towards its own way; note that this passage may be in conflict and we meet sometimes aggressive reactions or possessive, which I can pass then it is only my resilience Quiet, my openness to the strangeness of the other and indeterminacy. And long live our "poetics of imperfection" ... ²¹

Risks In Ceaseran With Anemia

About the speakers: Anne Laure COLMON

When the paint is a tool for life ... for yourself first, then the other and finally to be together. A tool for his life, to become and to be ... alone or together. To show and especially to see, coloring, internal travel, where ever invented a color code.

Mental Illness, suffering psychic and I educator ... painting under his arm to one tool, alongside the everyday madness, the madness of everyday life. Painting to approach each other to make him discover, to do and be tame, tame, tame me ... The paint near me, rub me ... flirting with madness, and the mine, theirs, ours ... The painting under his arm for one tool.

From a color-coded character creation, how to recreate the structure of being and deep infiltration of the world in which it operates. Treatment acrylic, watercolor and gouache or from collage and oil stick, usually large format, topics, both personal and common, entrapment, escape time, construction and deconstruction psychic .... and it's not over. The lack of titles is a first step towards freedom and sharing ... like a "being together" the work of the contour almost cellular and use of graphics are the ones repeating the key to a possible trip "inside of itself "

Painter, self-taught special education teacher training.

First exhibition in 2003/2004 at the school of educational psychology (Paris 6) and "small Boileau (Paris 16). Then in 2005 the fair construction, first prize for abstract painting. Joined the Nadir (perreuxienne Association) in September 2005: opening twice a year the doors of workshops. Selected for the exhibition "artist in town," held at Perranporth on marl from May 23 to June 4, 2006, then for the show of young designers in March 2008.

Funny Inappropriate Birthday

About the speakers: P Presentation System

System P


DIY, Invention and recovery in prison

The photos were made in six prisons: prisons and detention centers, in Paris and the provinces.

Everywhere inmates develop a parallel network is of tips, tricks and discoveries. Everywhere the same story comes at the option of internal rules and the willingness of supervisors.

Lack, confinement and deprivation give rise to a generation of objects specific to the prison.

materials and objects available are diverted from their original function to replace those that fail. Science and art objects diversion recovery as attempts to replicate inside the pieces out.

In contrast to the inaction of prison time, this production is in perpetual motion. The secrets circulate and pass through the former who introduce the newcomers need.

In this environment marked by widespread shortages, everything is recovered, each package boneless, husked optimized. It retrieves the peaks of kebabs, crates, packages of all kinds: canned food, cans and boxes Ricoré.

Ingenuity and invention to substitute consumption reflexes to survive and become organized acts of social protest, in response to deprivation in institutions of rule prison.

Loaded constraints faced by their authors and made from pieces of fragments, all these things are a little transposition of broken lives, shattered that populate prisons.

The breadth and diversity of human qualities implemented produce a mirror effect that allows him who sees the photograph to look the other as an individual and not only as detainee, placing the game on the field of invention and creativity.

White Tuxedos For Chambelanes

About the speakers: Presentation of the association Germaine Tortel by Paulette CLAD

's approach Pedagogy initiation

Exposure Germaine Tortel, great teacher of 20 th century includes four parts:

history of Germaine Tortel, great teacher of 20 th century, too little known, its course, its business, education, innovation

History Association who had 30 this year and wants to continue to promote this humanistic education.

paintings had been on the show in May 2006 at the Hotel de Ville in Paris

"A Child in Paris, learn to see learn to think. "

On the other hand, the table records show the pedagogical approach used to conduct children to the success of their projects. One panel is reserved for the presentation of this pedagogy, outlining his approach, its basic principles, objectives, innovations

Pedagogy initiation allows the child from the kindergarten, to prove to himself, to arise in him the conscience of the person to participate and attend the birth and development of his personality, making it emerge within the group and through this group.
This is the aspiration to create an internalized knowledge, to seek a culture of rational thought as imagination, promote it:

. a provocation by the expression accompanied by an authentic listening and critical involving love and respect for others.

. motivated by creative project.

. a constant dialectic introduced in class and leading to decision-

conscience

. an incentive to transcendence.

. by a development of the imagination.

It is build in the search for values.

Association:

Its objectives

. promote Pedagogy initiation.
. Encourage the classroom practice of humanistic education that wants to know and understand listen child.
. Hosting and value his word as part of a project.
. The help build his thoughts within the group and with the group in order to form a free, independent, responsible and conscious.

"Train a child in the thinker, poet, artist, sensitive and good man."

(Germaine Tortel)

Our interventions of 25 and 27 June on "Child amazed" that includes our presentation and projection of two films.

Questioning on Art and Education:

1 / How we define:
We are certainly not artists, educators, rather the child is an artist
2 / What we want to pass or pass:
Knowledge of an educational philosophy based on the creative potential and artistic
of the child, but this is not the only goal of the humanistic education,
philosophy of education .

By what means?

- Exposure

- Our interventions

- The films

- records presented on table

- Our publications

- Our quarterly newsletters

- Our appeal to our relations with the Documentation Centre, a place of our monthly meeting.

3 / What we expect of our intervention :
A lively exchange with the audience in anticipation of many questions.

4 / Our expectation :
Shedding of this pedagogy

A meeting with stakeholders who share the same values in their objectives.

5 / Our teaching is she in the art or education?
Surely education, but more than that of initiation. We want the child uses his art to express childish but do not want to introduce him to the Art, only to develop sensitivity in him, wonder at the world.