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resilients:debrouillardise_et_coquetterie [2012-05-28 16:12] – 109.129.75.193resilients:debrouillardise_et_coquetterie [2012-05-28 19:25] – 109.129.75.193
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-- **History**, in a Microhistory approach (‘search for large answers in small places’), also Altagsgeschichte (history from ‘below’)+- **History**, according to a Microhistory approach (‘search for large answers in small places’), also Altagsgeschichte (history from ‘below’)
  
 http://en.wikipedia.org/wiki/Microhistory http://en.wikipedia.org/wiki/Microhistory
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 http://www.osea-cite.org/history/exp_ethnography.php http://www.osea-cite.org/history/exp_ethnography.php
  
-- Experimental ethnography locates the value of the anthropological intervention, however, not in the teleology of the objectified results (e.g., social change, policy/political action, or cultural revitalization), but in the process and, thus, valorizes the actual dynamics of fieldwork as the primary locus where the “real-world” relevance and significance are to be measured, evaluated, and appreciated. »+- Experimental Ethnography locates the value of the anthropological intervention, however, not in the teleology of the objectified results (e.g., social change, policy/political action, or cultural revitalization), but in the process and, thus, valorizes the actual dynamics of fieldwork as the primary locus where the “real-world” relevance and significance are to be measured, evaluated, and appreciated. »
  
 -Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage. -Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage.
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 -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, museumography, art installation, performance arts) are recombined with the inherited methodologies of anthropology. -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, museumography, art installation, performance arts) are recombined with the inherited methodologies of anthropology.
 ** **
-°Anthropology of tranmission  / Generational Anthropology**+°Anthropology of Transmission  / Generational Anthropology**
  
 Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains. Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains.
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 ** **
-° Anthropology of cloth+° Anthropology of cloth / Costume History
 ** **
  
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 Out of my desire to collect stories from the past as precious fabrics…. Out of my desire to collect stories from the past as precious fabrics….
  
-The most important thing that my journey through textile conservation brought me is a deepening of the understanding of the ethical dimension of my practice, throughout the whole process of the fieldwork (from the encounter to the collecting of the story - of the constitution of a living archive of stories - to the transmission of the past story and their transformation by younger generations)   +The most important thing that my journey through textile conservation brought me is a deepening of the understanding of the ethical dimension of my practice, throughout the whole process of the fieldwork (from the encounter to the collecting of the story - of the constitution of a living archive of stories - to the transmission of the past story and their transformation by younger generations) 
 + 
 + 
 +METHODOLOGY / EXPERIENTIAL PART : (in construction) 
 + 
 +- Phenomenology of the encounter (cf fieldwork) 
 + 
 +- Assessment of the relational complexity induced by the dynamics of the gift/countergift. (cf fieldwork, the giving/receiving of the stories from the past) 
 + 
 +- Design spaces/conditions/games to foster creative engagements with the Past, as part of a Living History, (through artisanal textile workshops for older and younger generations, re enacting and reinterpreting DIY text practices from WWII)  -- intergenerational dramaturgies 
  
  
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 The responsability of our disciplines is to slow down these built in process of decay. The responsability of our disciplines is to slow down these built in process of decay.
 +
 +
 +
 +                    Some Notes on my apprenticeship in Textile Conservation:
 +                    
 +
 +Hands on !
 +course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten.
 +
 +http://www.academieanderlecht.be/index.php?textiel
 +
 +teacher : http://jokevandermeersch.be/
 +
 +Joke has an impressive knowledge in chemistry, crafts, art history and insects. She tries with a lot of patience to transmit me the basic skills of a textile conservator. The skills needed in this course are very challenging and difficult to me : patience, concentration, assiduity. 
 +
 +Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. »
 +
 +I still can’t separate the Gutterman thread into its 3 consitutive threads. It’s a kind of choregraphy with the fingers you have to master, I just can’ grasp it. We have to do this because when restauring a piece we have to use the finest thread possible, so that the intervention is as invisible as possible. 
 +
 +I like the cleaning ritual of textile conservation :
 +Conservators have to obsessionally clean their hands before manipulating the cloth pieces, but also regularly during the process. First year students have the tendency to forget this, so part of the teaching process of Joke is to repeat it all over again…
 +
 +In the beginning of the apprenticeship we learn : 
 +
 +-the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’
 +
 +- how to make a ‘behandelingsrapport’ : identification form of the textile piece, description (from technique to art history background) // condition report every action that is executed on the piece of textile has to be thoroughly documented (through pictures, calques, draing, samples, formulas…) cf. ‘dagboek der werkzaamheden’
 +
 +
 +- to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard
 +
 +
 +Bibliography :
 +
 +« Textile Conservation: Advances in Practice », ed. By Frances Lennard and Patricia Ewer, 2010 
 +
 +
 +« Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation », by Flury-Lemberg, Mechthild, 1988
 +
 +
 +« The textile conservator's manual » by Landi Sheila, Butterworths series in conservation and museology, 1985
 +
 +
  
  
  • resilients/debrouillardise_et_coquetterie.txt
  • Last modified: 2013-02-08 07:52
  • by nik