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resilients:debrouillardise_et_coquetterie [2012-05-28 16:12] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 20:20] – 109.129.58.244 | ||
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I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | ||
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- | - **History**, | + | - **History**, |
http:// | http:// | ||
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http:// | http:// | ||
- | - Experimental | + | - Experimental |
-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, | -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | ||
** | ** | ||
- | °Anthropology of tranmission | + | °Anthropology of Transmission |
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) |
- | Some Notes on my personal methodological approach: | + | **METHODOLOGY / EXPERIENTIAL PART** |
- | | + | |
- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | + | - Phenomenology of the encounter |
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving | + | - Assessment of the relational complexity induced by the dynamics |
- | Somewhere in between ethics and Sensoriality/Sensuality. | + | - Design spaces/conditions/ |
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | ||
- | As listening | + | [[Some Notes : on my way of hybridizing ethnography |
- | Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices. | + | PROCESS |
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen. | ||
- | Deepening | + | 1. **DOCUMENTING** |
+ | |||
+ | Fields | ||
+ | |||
+ | **Débrouillardise** | ||
+ | |||
+ | | ||
+ | |||
+ | Repertory of | ||
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion | ||
+ | - punishments | ||
+ | |||
+ | |||
+ | **Coquetterie** | ||
+ | |||
+ | dignity – history | ||
+ | |||
+ | ** | ||
+ | Resilience** | ||
+ | |||
+ | Moral, social and cultural resilience | ||
- | Textile conservation came up as the most complete approach to analyze textile in depth, its fascinating multidisciplinarity : in between chemistry , biology, art history, craft…A lifelong learning process… | + | serie of attitudes for protection (textile |
- | If the operating concepts | + | development |
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
- | Textile conservation also attrackts me as a discipline: | ||
- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | + | 1.1. consultation of specialized literature, articles and archives |
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | + | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] |
- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | + | 1.2. consultation of experts: |
+ | **Irène Guenther** | ||
+ | – Specialist in modern German cultural and gender history | ||
+ | http:// | ||
+ | ivguenth@central.uh.edu | ||
+ | « Nazi ‘Chic’? Fashioning Women in the Third Reich » | ||
+ | current research on the trench postcard art of German soldiers | ||
- | Values of the conservator that I admire: | + | **Jonathan Walford** |
- | -Sticking to the concrete | + | Founder and Curatorial Director |
- | -Taking utmost care of the piece you are in charge | + | http:// |
- | -Humility in the presence of the object | + | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 |
- | -Respect of the integrity of the object | + | http:// |
- | -Develop a deep affinity with the object | + | |
- | -Commitment | + | |
- | -Accept that after the short moment of excitement you will commit to a long time of routine tasks, you will be bored. | + | |
- | -Minutiae | + | |
- | The textile conservator is constantly involved in finding out all kind of strategies : conservation is about inventing ways of handling difficult objects. Your ability to handle difficult situation in everyday life will help you a lot, they say in the guide for textile conservation! | + | **Dominique Veillon** |
- | I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past. | + | « La mode sous l’occupation », 1990, éditions Payot. |
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | FINDINGS: | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http:// | ||
- | The Nature of the piece of textile is of fundamental influence on what can be at best done to preserve it. This rules inspires me ver much… but which words to define the nature of a story ? | + | Le travail des femmes dans la fabrique d' |
- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ : | + | Cette recherche analyse le travail des femmes dans l' |
- | Texture of the piece of cloth : its fabric and structure. | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | Characteristics : | + | [[Communities |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
- | Qualities: | ||
- | Extensibility | ||
- | Elastic limit | ||
- | Flexibility | ||
- | Density | ||
+ | **FIELDWORK** | ||
- | Folds | + | Senior centers interested in participation : |
+ | -Résidence Arcadia (elderly house Molebeek/ | ||
+ | -LDC Randstad (social restaurant for Seniors, Molenbeek) | ||
+ | -the Institut Pachéco (elderly house in 1000 Brussels), | ||
+ | -‘Ages et Transmissions’: | ||
+ | -‘La Mémoire Vivante’ : http:// | ||
- | Size – weight – complexity | + | The first interviews: |
+ | -[[Interview Débrouillardise et Coquetterie: | ||
- | Fragile zones | ||
- | How much repair needed ? | + | Observations / |
- | How much alteration has bien carried out ? | + | (in process) |
+ | 4.CASE STUDIES :: intergenerational workshops | ||
+ | (in construction) | ||
- | The irreductible individuality of the story. | ||
+ | TOWARD A LIVING ARCHIVE | ||
+ | Search for critical/ | ||
+ | Philosophy | ||
- | Actions / Performatives: | + | Michel Foucault « The Archeology of Knowledge » : Chapter 5: The Historical a priori and the Archive |
- | -cleaning | + | Discursive practices involve systems that allow statements to emerge as ' |
- | -sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, for example from other pensionees, or from their children that actively support them in the process of remembering, | + | Paul Ricoeur « Arcives, Documents, Traces » |
+ | http://www.scribd.com/ | ||
- | -To raise the piece of cloth/ to raise the story | + | “Any trace left by the past becomes a document for historians […], the most valuable traces are the ones that were not intended for our information.” (2006: 67) |
- | -To cover the piece of cloth/ To cover the story | + | |
- | -Framing, positioning the piece of cloth/ the story | + | |
- | -Unroll | + | |
- | Pinning | + | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 |
+ | http:// | ||
+ | “the archive is situated between langue, as the system of construction of possible sentences – that is, of possibilities of speaking – and the corpus that unites the set of what has been said, the things actually uttered or written.” | ||
- | Transfer to other contexts : the fragile condition of the story that is being displaced | ||
- | Unprotected condition of the released object/ | ||
+ | Archive Practices in Contemporary Art | ||
- | What does this displacement of concept from the conrete realm of the cloth pieces to the immaterial realm of the words and narratives mean to me, and what does they mean to you ? | + | General writings : |
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | Schaffner, Ingrid et Matthias Winzen (éditeurs). 1998. Deep storage: collecting, storing, and archiving in art. Munich ; New York : Prestel, 303 p. |
+ | Mokhtari Sylvie (éditeur). 2004. Les Artistes contemporains et l' | ||
- | At risk of dissapearing. | + | Dans Archive Fever Enwezor |
+ | principale de vérité historique » | ||
+ | Aby M. Warburg, «Mnemosyne-Atlas», | ||
+ | http:// | ||
- | Decaying is part of their very essence. | + | Gerhard Richter, « Atlas », 1962 |
+ | http://www.mediaartnet.org/ | ||
- | The responsability of our disciplines is to slow down these built in process of decay. | ||