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resilients:debrouillardise_et_coquetterie [2012-05-28 16:12] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2013-02-08 07:47] – nik | ||
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==== Débrouillardise et Coquetterie ==== | ==== Débrouillardise et Coquetterie ==== | ||
- | notes from a [[: | + | notes from a [[: |
- | Coralie Stalberg, April - May 2012 | + | ==== Interviews ==== |
+ | * [[interview jeanne and jacoba from pacheco]] | ||
+ | * [[interview jeanne van molenbeek]] | ||
+ | * [[interview therese from uccle]] | ||
+ | ==== Notes on methodology==== | ||
+ | * [[some_notes_on_my_personal_methodological_approach]] | ||
+ | * [[some_notes_on_my_way_of_hybridizing_ethnography_with_the_ethics_of_textile_conservation]] | ||
- | **PRESENTATION** | + | ===PRESENTATION=== |
**“Débrouillardise et Coquetterie”** is a project on DIY textile practices and associated recycling strategies during a historical period characterized by a radical scarcity of material resources — the Second World War and the years right after the war. In the context of research for a resilient future that would be more sensitive and committed to sustainability, | **“Débrouillardise et Coquetterie”** is a project on DIY textile practices and associated recycling strategies during a historical period characterized by a radical scarcity of material resources — the Second World War and the years right after the war. In the context of research for a resilient future that would be more sensitive and committed to sustainability, | ||
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+ | ===METHODOLOGY / THEORETICAL=== | ||
+ | at the crossroad of History, Ethnography and Textile Conservation. | ||
+ | **History**, | ||
- | ** | + | |
- | METHODOLOGY / THEORETICAL PART : at the crossroad of History, Ethnography and Textile Conservation.** | + | |
- | + | | |
- | + | ||
- | - **History**, | + | |
- | + | ||
- | http:// | + | |
- | http:// | + | |
- | http:// | + | |
An inspiring text from Dominique Veillon : http:// | An inspiring text from Dominique Veillon : 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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http:// | http:// | ||
- | ** | + | **Anthropology of cloth / Costume History** |
- | ° Anthropology of cloth | + | |
- | ** | + | |
« Pour une anthropologie du vêtement » Yves Delaporte, CNRS/Musée de l’Homme | « Pour une anthropologie du vêtement » Yves Delaporte, CNRS/Musée de l’Homme | ||
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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 (in construction)=== | ||
+ | |||
+ | * Phenomenology of the encounter (cf fieldwork) | ||
+ | * Assessment of the relational complexity induced by the dynamics of the gift/ | ||
+ | * Design spaces/ | ||
+ | |||
+ | |||
+ | [[Some Notes on my way of hybridizing ethnography with the ethics of textile conservation]] | ||
+ | |||
+ | ====Process==== | ||
+ | |||
+ | |||
+ | ===DOCUMENTING the research topic=== | ||
+ | |||
+ | Fields of interests : | ||
+ | **Débrouillardise** | ||
- | Some Notes on my personal methodological approach: | + | |
- | | + | |
- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving and a taking care of its story. Hosting the story in my dilated present. | ||
- | Somewhere in between ethics and Sensoriality/ | + | **Coquetterie** |
- | Textile | + | dignity – history of the bodies that is sensitive |
- | As listening with the closed eyes is every time again a beautiful and deep sensorial experience. | + | ===Resilience=== |
- | Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices. | + | Moral, social and cultural resilience |
- | Textile pieces | + | serie of attitudes for protection (textile as a protective skin) and as potential |
- | Deepening | + | development of capacities allowing for the psychic transformation |
+ | |||
+ | Humour is said to be an important strategy for 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… | ||
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | 1.1. consultation |
- | Textile conservation also attrackts me as a discipline: | + | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] |
- | Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography. | + | 1.2. consultation of experts: |
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | + | **Irène Guenther** |
- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | + | – Specialist |
+ | http://www.uh.edu/ | ||
+ | ivguenth@central.uh.edu | ||
+ | « Nazi ‘Chic’? Fashioning Women in the Third Reich » | ||
+ | current research on the trench postcard art of German soldiers | ||
+ | **Jonathan Walford** | ||
- | Values | + | Founder and Curatorial Director |
- | -Sticking to the concrete | + | http:// |
- | -Taking utmost care of the piece you are in charge | + | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 |
- | -Humility in the presence of the object | + | http:// |
- | -Respect of the integrity of the object | + | |
- | -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 therese from uccle|Thérèse from Uccle]] | ||
+ | * [[interview jeanne and jacoba from pacheco|Jeanne and Jacoba from Pachéco]] | ||
+ | * [[interview jeanne van molenbeek|Jeanne van Molenbeek]] | ||
- | Fragile zones | + | Observations / |
+ | (in process) | ||
+ | ====4.CASE STUDIES :: intergenerational workshops==== | ||
+ | (in construction) | ||
- | How much repair needed ? | ||
- | How much alteration has bien carried out ? | ||
+ | ====5. TOWARD A LIVING ARCHIVE==== | ||
- | The irreductible individuality of the story. | + | 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. | ||