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resilients:debrouillardise_et_coquetterie [2012-05-28 19:22] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 19:46] – 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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- Assessment of the relational complexity induced by the dynamics of the gift/ | - Assessment of the relational complexity induced by the dynamics of the gift/ | ||
- | - Design spaces/ | + | - Design spaces/ |
+ | [[Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation|Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation]] | ||
- | Some Notes on my personal methodological approach: | + | PROCESS |
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- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | ||
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving and a taking care of its story. Hosting | + | 1. DOCUMENTING |
- | Somewhere in between ethics and Sensoriality/ | + | Fields of interests : |
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | + | **Débrouillardise** |
- | As listening with the closed eyes is every time again a beautiful | + | |
- | Receiving | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen. | ||
- | Deepening the experience of touching a textile, learning the words, concepts and parameters used to analyze a piece of cloth would allows to receive more complex insights in the textures of voices given to me during the process, by analogy-thinking. | + | **Coquetterie** |
- | Textile conservation came up as the most complete approach | + | dignity – history of the bodies that is sensitive |
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | ** |
+ | Resilience** | ||
- | Textile conservation also attrackts me as a discipline: | + | Moral, social and cultural resilience |
- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , |
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile | + | development |
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+ | Humour is said to be an important strategy for resilience, a lot of textile | ||
- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | ||
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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. | ||
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- | Actions / Performatives: | ||
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- | -cleaning | ||
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- | -sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, | ||
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- | -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 | ||
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- | Pinning : involves making holes, or having marks that tends to remain | ||
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- | Transfer to other contexts : the fragile condition of the story that is being displaced | ||
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- | Unprotected condition of the released object/ | ||
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- | 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 ? | ||
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- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | ||
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- | At risk of dissapearing. | ||
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- | Decaying is part of their very essence. | ||
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- | The responsability of our disciplines is to slow down these built in process of decay. | ||
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- | Some Notes on my apprenticeship in Textile Conservation: | ||
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- | Hands on ! | ||
- | course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten. | ||
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- | http:// | ||
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- | teacher : http:// | ||
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- | 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, | ||
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- | Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. » | ||
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- | 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. | ||
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- | 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… | ||
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- | In the beginning of the apprenticeship we learn : | ||
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- | -the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’ | ||
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- | - 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’ | ||
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- | - to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard | ||
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- | Bibliography : | ||
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- | « Textile Conservation: | ||
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- | « Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation », by Flury-Lemberg, | ||
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- | « The textile conservator' | ||
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- | PROCESS | ||
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- | 1. DOCUMENTING the research topic | ||
1.1. consultation of specialized literature, articles and archives | 1.1. consultation of specialized literature, articles and archives | ||
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interesting review: http:// | interesting review: http:// | ||
+ | Hannelore Vandebroek, Nel de Mûelenaere, | ||
+ | cf ETUDE : | ||
+ | http:// | ||
- | It interest me to collecting data, facts and stories that contradicts the big narratives, that are puzzling, surprising, funny. | + | Le travail des femmes dans la fabrique d' |
- | **Débrouillardise** | + | Cette recherche analyse le travail des femmes dans l' |
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- | Repertory of | + | side note 1 on 1.1 |
- | - Governmental decrees / rationing tickets | + | |
- | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, or finding strategies to circumvent the regulations | + | |
- | - punishments in case of contravening the regulations | + | |
+ | contacted Documentation Centers in Brussels | ||
- | **Coquetterie** | + | - Algemeen Rijksarchief: |
- | dignity – history of the bodies that is sensitive to a memory of emotions and affect | + | -Archief en Museum voor het Vlaamse Leven in Brussel |
- | ** | + | - Brussels Museum voor Arbeid en Industrie ‘La Fonderie’ |
- | Resilience** | + | mainly about the end of the 19th, beginning |
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- | Moral, social and cultural resilience | + | |
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- | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) | + | |
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- | development | + | |
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- | Humour is said to be an important strategy for resilience, | + | |
+ | My research questions : what was the industrial production level of textile material and where was it requisitionned to (Front de l’Est ?) ; what about labour conditions and entering of the women as workers in the factories, how did the work impacted on women dressing (more practical, introduction of the trouser) do they have propaganda material about women work? | ||
+ | -CINEMATEK | ||
+ | access@cinematek.be | ||
+ | Filmmaterial will be accessible, there are pictures but they are not filed at all so it will be quasy impossible to consult them | ||
- | 2.FIELDWORK | + | Of interest : belgian film production during occupation, document the dressing in documentary films versus fictions, cinematographic advertisment and actualities. What about the ‘costumières’, ‘accessoiristes’ status working on the filmsets |
- | studies of concrete people, places, sites, groups or organisations, | + | |
+ | Interesting reading : « Henri Storck, le cinéma belge et l' | ||
- | 3. INTERVIEWS combined with some drops of consciousness /ethical-conservational reflections. Issue of how to (des)archive the testimonies. | + | -MJB Musée Juif de Belgique |
- | 4.CASE STUDIES | + | -Koninklijk Museum van het Leger en de Krijgsgeschiedenis |
- | summarising, describing, reflecting on and presenting | + | information about the requisitioning of the materials from the army, and more important : how textiles from the army was on its turn used, transformed |
+ | -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. | ||
+ | -CEGESOMA, | ||
+ | does have a research center for WW II | ||
+ | http:// | ||
+ | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] | ||
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