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resilients:debrouillardise_et_coquetterie [2012-05-28 16:12] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 20:52] – 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** | ||
- | 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… | + | Moral, social and cultural resilience |
- | If the operating concepts | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) |
- | Textile conservation also attrackts me as a discipline: | + | development of capacities allowing for the psychic transformation of human suffering |
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | ||
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | + | 1.1. consultation |
- | « Little » things are disscrete and apparently insignificant thruths, that I search | + | [[contacted archive centers |
+ | 1.2. consultation of experts: | ||
- | Values of the conservator that I admire: | + | **Irène Guenther** |
- | -Sticking to the concrete | + | – Specialist |
- | -Taking utmost care of the piece you are in charge of | + | http:// |
- | -Humility in the presence of the object | + | ivguenth@central.uh.edu |
- | -Respect of the integrity of the object | + | « Nazi ‘Chic’? Fashioning Women in the Third Reich » |
- | -Develop a deep affinity with the object | + | current research on the trench postcard art of German soldiers |
- | -Commitment to extremely slow processes | + | |
- | -Accept that after the short moment | + | |
- | -Minutiae /Precision of craftmanship. | + | |
- | 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! | + | **Jonathan Walford** |
+ | Founder and Curatorial Director | ||
+ | http://www.kickshawproductions.com/ | ||
+ | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 | ||
+ | http:// | ||
- | I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past. | + | **Dominique Veillon** |
- | FINDINGS: | + | « La mode sous l’occupation », 1990, éditions Payot. |
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: 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 ? | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http:// | ||
- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ : | + | Le travail des femmes dans la fabrique d' |
- | Texture of the piece of cloth : its fabric and structure. | + | Cette recherche analyse le travail des femmes dans l' |
- | Characteristics : | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
- | Qualities: | + | [[Communities of Resilients // from the perspective of Clothing as a resistance strategy|Communities of Resilients // from the perspective of Clothing as a resistance strategy]] |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
- | Folds | + | **FIELDWORK** |
+ | 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: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
- | Fragile zones | ||
+ | Observations / | ||
+ | (in process) | ||
- | How much repair needed ? | + | **4.CASE STUDIES :: intergenerational workshops** |
- | How much alteration has bien carried out ? | + | (in construction) |
- | The irreductible individuality of the story. | + | **5. TOWARD A LIVING ARCHIVE** |
+ | Search for critical/ | ||
+ | Philosophy | ||
+ | Michel Foucault « The Archeology of Knowledge » : Chapter 5: The Historical a priori and the Archive | ||
- | Actions / Performatives: | + | Discursive practices involve systems that allow statements to emerge as ' |
- | -cleaning | + | Paul Ricoeur « Arcives, Documents, Traces » |
+ | http:// | ||
- | -sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, | + | “Any trace left by the past becomes a document |
- | -To raise the piece of cloth/ to raise the story | + | Giorgio Agamben « The Archive and the Testimony » in « Remnants |
- | -To cover the piece of cloth/ To cover the story | + | http:// |
- | -Framing, positioning | + | “the archive is situated between langue, as the system |
- | -Unroll | + | |
- | Pinning : involves making holes, or having marks that tends to remain | ||
- | 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 |
+ | General writings : | ||
- | 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 ? | + | 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' | ||
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | Dans Archive Fever Enwezor |
- | At risk of dissapearing. | + | 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. | ||