Essay Writing Tips – How to Write an Essay the Simple Way « Un coup de dés

Un coup de dés

  • 2020. 12. 22

    Essay Writing Tips – How to Write an Essay the Simple Way

    For some, writing an essay can be mla title formatting somewhat overwhelming. The entire notion of an article is to convey something from one person to another and in exactly the exact same time show the ideas in a logical and organized way. If you feel that your very first draft is not that good, then you should understand just what to do to boost your essay.

    First, choose the topic that you would like to write about. You need to think of an interesting topic and you have to know the purpose of your essaywriting. Make sure that the topic will help you introduce the arguments in a logical manner. If your topic doesn’t have anything to do with the subject matter, then it could be dull to your audience.

    Next, you will need to locate sources of information about your topic. If you can’t find enough information on your subject, then you may want to write a secondary source. You could also need to do some investigating to make sure you can present your topic in the best way possible.

    As soon as you have researched and gathered information on your subject, you need to be able to write your primary thought on your own essay. You will need to make certain your principal idea does not contradict anything that has been written about the article. Whenever you are composing an essay, your main idea should encourage everything that has been already written so that readers will not lose their attention. If your primary idea conflicts with what was already written, then it would only serve to confuse your visitors and they will likely end up reading your essay.

    When composing an essay, you need to always be careful not to plagiarize other people’s main thoughts. Although you may believe that you’re being original, there are times when someone may think that you’re plagiarizing them. In this situation, it will be better to edit your article a bit so that it would continue to be original but wouldn’t seem spammy to your viewers.

    After you’ve composed your main concept, you ought to be aware of where to start your research on the topic. Since you’re writing an article, you want to spend more time researching than you would in the event that you were just writing a letter to a person or a thesis. You also have to spend time doing this because you don’t wish to rush through all your research and wind up getting a composition that seems rushed and does not stream well.




, and lies listen to,, at the she said as a form of, while he said ? . a , .

 For the summer edition of uncoupdedé magazine, I have let myself be inspired by Mallarme´s dice play to shift away from a regular textual introduction. In favor of the actual produced material and the heterogonous spirit I found in the magazine, I limited myself to use what is already existing – titles and content – to produce a minimal intervention: , and lies listen to,, at the, she said, as a for of, while he said ? . a , . The economy of words deploys a visual and musical dimension of the assemblage, flames the collective effort, fulfills magical strategies, provokes memorization or, perhaps, simply incorporates the fundamental action given by this invitation: ORGANIZING UN COUP DE DÉS.

Manuela Moscoso



Architecture fantôme, 2011, Berdaguer & Péjus



Poinçon, Nicolas Floc’h, exposition à la verrerie de la Rochère, 2012. Production : centre d’art Le Pavé Dans La Mare. Mécénat : verrerie de La Rochère




Keith Sonnier, Saule pleureur de la série : Blatt, 1999 FNAC 03-044. Dépôt du Cnap - EAC, Donation Albers-Honegger © Yves Chenot pour Adagp

The Innocents © Dora Garcia

Power No Power, by Claudio Zulian, Aulnay-sous-Bois, France, 2013


La couleur ne brûle pas Elisa Pône & Stéphane Thidet film Super 8 / 2'20 / 2012 co-produit par le Centre d'Art Bastille, Grenoble. Photographie: Stéphane Thidet

vue de l'exposition The Die is Cast, Ryan Gander, 26/06 - 18/10/2009 - J. Brasille/Villa Arson

David Evrard, Spirit of Ecstasy, BLACKJACK éditions et KOMPLOT, 2012



Alain Bernardini, 'L’origine. Recadrée. Porte-Image, Guillaume, Chantier Giraud BTP, Borderouge Nord, Toulouse 2013', production BBB centre d’art /  commande publique photographique – CNAP

'Bonjour tristesse, désir, ennui, appétit, plaisir' Vue de l’exposition à La Galerie, Centre d’art contemporain de Noisy-le-Sec, Photo © Cédrick Eymenier, 2013



Bolstered by its success and visibility, uncoupdedé is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts. Catalina Lozano (Colombia), Zasha Colah (India), Moe Satt (Myanmar) and Manuela Moscoso (Brazil): each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. uncoupdedé repeats the challenge from the poet Mallarmé, resurrected in the cinematographic art of Jean-Marie Straub and Danièle Huillet (Every Revolution is a Roll of the Dice, 1977). The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedé takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…



(Sao Paulo, Brazil)

Manuela Moscoso is a Brazil-based curator. Recently she has curated 12 Bienal de Cuenca, Ecuador; Yael Davis in the Museo de Arte do Rio Brazil; Fisicisimos, Universidad Torcuato di Tella,The Queens Biennale in the Queens Museum New York; or Before Everything in CA2M (Madrid). Together with Sarah Demeuse is Rivet, a curatorial office investigating notions of deployment, circulation, exercise, and resonance. Their research has materialized in projects in Spain, Norway, Lebanon and the US. Manuela Moscoso holds an MA from Center for Curatorial Studies at Bard College.