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resilients:debrouillardise_et_coquetterie [2012-05-28 18:12] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 19:48] – 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 : (in construction) |
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- | 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 |
- | Textile conservation came up as the most complete approach to analyze textile in depth, its fascinating multidisciplinarity | + | Fields of interests |
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | **Débrouillardise** |
- | Textile conservation also attrackts me as a discipline: | + | |
- | Because it is a lived, bodily practice | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, or finding strategies | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | ||
- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | + | **Coquetterie** |
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- | Values of the conservator that I admire: | + | |
- | -Sticking to the concrete | + | |
- | -Taking utmost care of the piece you are in charge of | + | |
- | -Humility in the presence of the object | + | |
- | -Respect of the integrity of the object | + | |
- | -Develop a deep affinity with the object | + | |
- | -Commitment to extremely slow processes | + | |
- | -Accept that after the short moment of excitement you will commit to a long time of routine tasks, you will be bored. | + | |
- | -Minutiae /Precision of craftmanship. | + | |
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- | 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! | + | |
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- | I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past. | + | |
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- | FINDINGS: | + | |
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- | 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 ? | + | |
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- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ : | + | |
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- | Texture of the piece of cloth : its fabric and structure. | + | |
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- | Characteristics : | + | |
- | Loose patterns Zig Zag Patterns | + | |
- | Unevenness in tension | + | |
- | Missing parts | + | |
- | Schilferend | + | |
- | Scheuren | + | |
- | Extreme cases of total fragmentation | + | |
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- | Qualities: | + | |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
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- | Folds | + | |
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- | Size – weight – complexity | + | |
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- | Fragile zones | + | |
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- | How much repair needed ? | + | |
- | How much alteration has bien carried out ? | + | |
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- | The irreductible individuality of the story. | + | |
+ | dignity – history of the bodies that is sensitive to a memory of emotions and affect (from proudness to shame, the hiding of precariousness) – costume as overstatement/ | ||
+ | ** | ||
+ | Resilience** | ||
- | Actions / Performatives: | + | Moral, social and cultural resilience |
- | -cleaning | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , |
- | -sewing (steunweefsel naaien) | + | development of capacities allowing for the psychic transformation of human suffering |
+ | |||
+ | Humour is said to be an important strategy | ||
- | -To raise the piece of cloth/ to raise the story | ||
- | -To cover the piece of cloth/ To cover the story | ||
- | -Framing, positioning the piece of cloth/ the story | ||
- | -Unroll the cloth/ the story | ||
- | Pinning : involves making holes, or having marks that tends to remain | + | 1.1. consultation of specialized literature, articles and archives |
- | Transfer to other contexts : the fragile condition | + | 1.2. consultation |
- | Unprotected condition of the released object/story | + | **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 | ||
+ | **Jonathan Walford** | ||
+ | Founder and Curatorial Director of Fashion History Museum of Canada, Writer | ||
+ | http:// | ||
+ | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 | ||
+ | http:// | ||
- | 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 ? | + | **Dominique Veillon** |
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/STORIES AT RISK. | + | « La mode sous l’occupation », 1990, éditions Payot. |
+ | http://www.ihtp.cnrs.fr/ | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | At risk of dissapearing. | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http://www.cegesoma.be/ | ||
- | Decaying is part of their very essence. | + | Le travail des femmes dans la fabrique d' |
- | The responsability of our disciplines is to slow down these built in process of decay. | + | Cette recherche analyse le travail des femmes dans l' |
+ | side note 1 on 1.1 | ||
- | Some Notes on my apprenticeship | + | contacted Documentation Centers |
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- | Hands on ! | + | - Algemeen Rijksarchief: |
- | course followed at the Kunstakademie | + | |
- | http:// | + | -Archief en Museum voor het Vlaamse Leven in Brussel (online archive)/recommend to look also at Archives from the KVS (Koninklijke Vlaamse Schouwburg) |
- | teacher : http:// | + | - Brussels Museum voor Arbeid en Industrie ‘La Fonderie’ |
+ | mainly about the end of the 19th, beginning of the XXth century. There would be a gap in documentation of the second world war period, they start to have a good documentation from the fifties on. Maybe they have info on the industrial inventories. | ||
- | 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 | + | My research questions : what was the industrial production level of textile |
- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | + | -CINEMATEK |
+ | access@cinematek.be | ||
- | 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. | + | Filmmaterial will be accessible, there are pictures but they are not filed at all so it will be quasy impossible |
- | I like the cleaning ritual of textile conservation | + | Of interest |
- | Conservators have to obsessionally clean their hands before manipulating | + | |
- | In the beginning of the apprenticeship we learn : | + | Interesting reading |
- | -the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’ | + | -MJB Musée Juif de Belgique |
- | - 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’ | + | -Koninklijk Museum van het Leger en de Krijgsgeschiedenis |
+ | information about the requisitioning | ||
- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques | + | -Musée National de la Résistance |
+ | interesting material : double pockets that were sewen to transport weapons. | ||
+ | The museum does not have examples of it, but can try to put me in contact with people then involved in Resistance who did such a textile practices. | ||
- | Bibliography | + | -CEGESOMA, |
+ | does have a research center for WW II | ||
+ | http:// | ||
- | « Textile Conservation: | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | « Textile conservation and research: a documentation | + | [[Communities |
- | « The textile conservator' | ||
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